I'm an advertising photographer/videographer based in Los Angeles, California. My mission is to create striking advertising photography, corporate photography and editorial photography of people for major advertising agencies, fortune 500 corporations and major magazines. I shoot photography and video assignments throughout California including Los Angeles, San Francisco, San Diego as well as the rest of the world. As a photo educator I am happy to share my unique vision and methods. I'm currently teaching classes at College of the Canyons in video production for professional photographers and photography students. I give workshops, seminars and lectures on short form video production at colleges, organizations and conferences around the world.

Secrets of Video for Photographers comes to Portland Oregon

Posted: March 24th, 2011 | Author: | Filed under: Apple, Beachtek, Chimera, Final Cut Studio, G-Technology, Hollywood DI, Hoodman, Indislider, K-tek, Manfrotto, Panasonic, Rawworks, Red Giant Software, Redrock Micro, Sennheiser, SmartSound, Zeiss | Tags: , , , , , , , , , , , , , , , , | No Comments »

Secrets of video for photographers is coming to Portland for two events that takes away the mystery of video production and replaces it with solid information.  More than just tech talk, Lee White also goes over ideas on how to increase revenue streams and creative strategies.

The evening seminar is two hours jammed packed with need to know info!

When: Friday, April 8, 2011
Time: 7:00pm – 9:00pm, doors open at 6:30pm
Where: Newspace Center for Photography
1632 S.E. 10th Avenue, Portland, OR 97214
Cost: General $10, ASMP members & Students $5
Register Now!

All attendees will receive free SmartSound music and SonicFire music editing software .

Taking the step from stills to video can be a challenging one. You will have to learn how to deal with motion and sound, tell the visual story in a different way. There is new equipment to master. Post-production can be much more involved and time consuming. The explosion of interest in video both by clients and photographers in the last couple of years has opened new creative avenues for photographers. More photographers are being asked to create video content so are facing new challenges in estimating, production and post-production. Come and learn about the latest tools and techniques needed to create video. Learn how to better estimate the time and costs involved and how you need to approach video differently than stills while using your photographic talents to your advantage.

Lee White’s evening lecture presentation and videos will go over the steps photographers need to know in creating video without tearing their hair out.

During the evening Lee will discuss:
• How photographers can get new clients
• The latest in tools that make video production easier
• The all-important planning stage and what new concepts and costs photographers need to think about
• The importance of post-production
• HDSLR vs Camcorder in video production
• How photographers can apply their present skills to video

The latest equipment and software by sponsors Apple, Manfrotto, Panasonic, Zeiss,  Sennheiser, Beachtek. Red Giant Software, SmartSound, G-Technology, Indisystems, Chimera and Casio will be at the event for photographers to see.


Secrets of Video for Photographers workshop

This fast paced all-day workshop is not to be missed.

When: Saturday, April 9, 2011
Time: 9:00am – 5:00pm
Where: Andy Batt’s Studio
2021 SE 11th Ave, Portland, OR 97214
Cost: General $150; ASMP members & Students $100 – Lunch included
Register Now!

All attendees will receive free SmartSound music and SonicFire music editing software .

Photography and video are coming together. In the last couple of years, the idea of photographers producing video has exploded and photographers now must gear up and learn the language of video. 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 fundamental changes to your workflow. It requires 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, a professional photographer and educator, has created an intensive all day workshop to help guide you into video. This hands-on workshop will go in depth about each step of video production so you can start producing your own video and avoid some of the most dangerous pitfalls.

In the morning, Lee White will go over the fundamentals of video production and direct a plan for a shoot for the afternoon. In the afternoon, we will shoot, and edit and color grade the video.

The Saturday subjects will include:
• The importance of workflow including recording formats and how to use them to your advantage
• Estimating and planning combined photography and video shoots with forms for estimating video production
• Understanding the lighting, filming and sound techniques needed for video
• Hands on experience with camera, lighting and sound equipment
• Editing and color grading demonstrations
• Common issues in directing talent and a chance to direct yourself
• The importance of post-production

The latest equipment and software by sponsors Apple, Manfrotto, Panasonic, Zeiss,  Sennheiser, Beachtek. Red Giant Software, SmartSound, G-Technology, Indisystems and Casio will be at the event for photographers to see in action.

Lecture and workshop are sponsored by Pro Photo Supply and ASMP Oregon.

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.THM Is Important For HDSLR Editing

Posted: January 4th, 2011 | Author: | Filed under: Canon, Canon 7d, Final Cut Studio, Hoodman | Tags: , , , | No Comments »

While Final Cut Pro will edit the H.264 files created by the Canon 5D or 7D, it will be slow and probably not frame precise.  A much better solution is either bringing the files in through Compressor or using the free Log & Transfer plug-in from Canon.  It is important not to strip away the .THM files if you plan on using the the plug-in.  In fact, the plug-in requires the DCIM folder to stay intact.  I suggest you copy the card on to your drive and backup drive and simply use a naming system to change only the master folder name.  The Hoodman RAW firewire card reader will help speed up the process, see side panel for link.

Once you have the original master folders safe, you can proceed to convert the files into the ProRes format of your choosing.  Most think any of the ProRes versions above standard ProRes does not gain anything in quality.

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Luma Key, When Chroma Key Doesn’t Work

Posted: October 30th, 2010 | Author: | Filed under: Final Cut Studio, video production, Workflow | Tags: , , , | No Comments »

My interest in Luma Keying was sparked when one of my students had a problem during the Green Screen assignment I give each semester in my Video Production for Photographers class at Santa Monica College.  The student, as students will, chose a situation where using a green screen or any other color screen was impossible because the subject was an octopus in a public aquarium with no access to the back.  She did luck out in that the background went black.

Here is why.  The way sampling in video is noted is Luma (brightness). Chroma (color). Chroma (color) often noted as 4.4.4, 4.2.0 or some other variation of 4 and the two other numbers.  This means almost always when compressing video into a camera codec, the full range of luma, which is the first number, is kept intact and only the color information is compressed.  So she starts out with a good amount of luma (brightness).  Her next bit of joy comes from the fact that not only are there several chroma (color) keyers in Final Cut Pro but there is also a luma keyer as well.  Simply go to Browser>Video Filters>Key>Luma Key.  The adjustments are simple, too.  Decide Key Out Darker or Lighter and find the best Threshold and Tolerance settings. Each shot will probably be a little different and you will have a decent key.  All keying is a black art and seldom is applying one filter going to solve all the issues. There often is a mixture of tracks, mattes and filters needed to get a really good keying done.  Also see my post on Double Your Pleasure.

Luma Keyer

Luma Keyer Settings

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Secrets at Unique Photo Oct. 22-23

Posted: October 20th, 2010 | Author: | Filed under: Apple, Beachtek, Final Cut Studio, Hoodman, Indislider, K-tek, LaCie, Redrock Micro, Sennheiser, SmartSound, video production, Zeiss | Tags: , , , , , , , | No Comments »

I’m going to Unique Photo Superstore to do my Secrets of Video Production for Photographers.  Friday night is the evening presentation where I do an overview of video production from concept to final output.  Saturday’s workshop is where the funny really begins.  Saturday morning is getting everyone up to speed then the afternoon is filled with shooting and editing.  For more information you can go to:


Lee White preparing to shoot commercial with model Maya using Marshall Electronics V-LCD70P-HDMI, Redrock Micro eyeSpy, Beachtech audio adapter DXA-5D

These events are sponsored by Zeiss, Redrock Micro, SmartSound, Beachtek, Sennheiser, Apple, Hoodman, Indisystems, Marshall Electronics, LaCie, Chimera, K-Tek, and Agency Access

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Double Your Pleasure in Final Cut Pro

Posted: October 4th, 2010 | Author: | Filed under: Apple, Final Cut Studio | Tags: , , , , , , | No Comments »

There are times when it is better to double up a Final Cut Pro filter rather than trying to push just one too far.  Next time you are faced with a green screen project and are using one of the Final Cut Pro chroma key filters try doubling the filter once you get close to the final result you want.

It is easy to do because you don’t have to start fresh with the filter rather duplicate the original filter setting to refine the effect even more.  In Final Cut Pro it is easy do duplicate a filter by simply dragging and dropping the adjusted filter onto the same clip in the timeline.

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Talk Like a Pirate Day

Posted: September 19th, 2010 | Author: | Filed under: Hoodman, Litepanels, video production | Tags: , , , , , , , , , | No Comments »

Talk Like a Pirate Day was the perfect day to go to the annual Pirate Faire and get in a little filming.  It was a bright sunny afternoon so seeing the LCD in liveview mode on the 7D was going to be a challenge.  I knew the action was going to be fast and unscripted so I had to be able to quickly get the framing and start shooting.

I decided this would be the perfect time to give the Hoodman Cine Kit Pro a workout.  In the past, I had simply held the Hoodman Loupe against the back of the camera with my hand but over time that becomes uncomfortable and awkward.  This time I wanted to be ready quickly and be able to shoot over a period of time which made the Cine Kit Pro a possible solution.

Initially the Cine Kit Pro might look like a little overkill, but once you understand the built-in features, it makes sense.  The loupe is held into place with the crane arm that slides and locks into the camera’s hot shoe.  It has a cold shoe on top for small lights like the Litepanels MicroPro.   This meant  I could walk around with the camera with the loupe in place ready to block out the sun for a clear view of the LCD .  The cool thing about the crane arm is it can swing up and to either side moving the loupe completely out the way of the viewfinder which is certainly easier than unhooking and resetting the loupe each time you need the viewfinder.

The crane is sturdy so with the normal amount of care, I easily spent the afternoon walking around ready to shoot.  When I came across a group of belly dancers that presented an interesting opportunity, all I had to do was frame and shoot.  With the Cine Kit Pro, the bright sun was no problem and I could focus and zoom instead of holding the loupe.

I was able to shoot a variety of clips of the dancers that will make up content for future blog entries on color balance and color matching in Final Cut Pro.

Hoodman Cine Kit Pro in action

Hoodman Cine Kit Pro Close Up

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Time Passing You By?

Posted: September 13th, 2010 | Author: | Filed under: Education, video, video production, Workflow | Tags: , , , , , , | No Comments »

The traditional methods of using a dissolve transition or fading in and out of black are used to show the viewer a passage of time and have recently been added to by the altered speed cutaway.  One method is where there is a cutaway to a subject that is simply sped up such as a condensed sunset.  The other is where one or more parts of the cutaway are sped up.  Either one works well with the shorter shots that we often see in the latest style of storytelling.

Center Speed Up- Click to view

Overall Speed Up - Click to view

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Secrets at Brooks Institute of Photography

Posted: August 15th, 2010 | Author: | Filed under: Education, Final Cut Studio, Hoodman, Indislider, Litepanels, Manfrotto, Redrock Micro, SmartSound, video, video production, Zeiss | Tags: , , , , , , , , , | No Comments »

Thursday August 12, Brooks Institute of Photography hosted my Secrets of Video Production on what turned out to be one of the first truly sunny summer days this season. Both students and a large number of faculty attended my presentation held in one of the school’s spacious studios.  The theme was tabletop so I was able to spotlight the Indisliderpro with the Manfrotto 501 fluid head supported on Manfrotto 536 MPRO legs. Everyone was impressed with how sturdy and versatile the IndisliderPro was both when mounted on the Manfrotto legs and when placed right on the tabletop.  Everyone appreciated the value of the False Color and Peaking filters of the Marshall’s monitor and enjoyed being able to see what was going on as some of the students tried out the techniques I presented.  RedRockMicro’s support system and microFollowFocus was instrumental in demonstrating techniques like rack focus.  The cucaloris effect of the Chimera Window Patterns added life to both the background of some setups and dappled light directly on one setup illustrating a push-in technique with the Indisliderpro.  The LEDs from Litepanels were used as both main sources and kickers along with both the Lastolite Triflip and Skylite light modifiers.

Indislider Pro

Everything was shot to a RAW 16GB CF card and down loaded through the high speed RAW Firewire card reader on to LaCie harddrives supporting editing in Final Cut Pro on MacBook Pro.  Along with demonstrating a number of tabletop shooting situations, I had enough time to show a very basic NLE workflow.  Student received a Sonicfire Pro disk and suggestions on the use of royalty-free music in their future video and still to video productions.

The students asked lots of questions and quite a few got a chance to try the equipment for themselves in actual shooting situations.

Below is the tabletop wine video we did in the workshop.

Below is the tabletop push-in we did in the workshop.

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Charlotte Gets Secrets of Video Production for Photographers

Posted: June 9th, 2010 | Author: | Filed under: Agencyaccess, Apple, Beachtek, Education, Hoodman, K-tek, Litepanels, Manfrotto, Panasonic, Rawworks, Redrock Micro, Sennheiser, SmartSound, video, Zeiss | Tags: , , , , , , , , , , , , , , , | No Comments »

Secrets of Video Production for Photographers is coming to Charlotte on June 18 and 19. I’m looking forward to my first visit to what promises to be a charming city.

Friday night is going to be the APA evening presentation from 6:00pm to 9:00pm at Paradox Film & digital where I give a basic outline of the process of video production. I do this keeping in mind video is an additional component to a still production. I will discuss the techniques and tools needed to do video production. See http://charlotte.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 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 video productions. See www.tiny.cc/june18 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 an understanding of how to judge what equipment and software to use.

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

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Final Cut Studio’s Compressor Stands Alone

Posted: May 31st, 2010 | Author: | Filed under: Apple, Final Cut Studio | Tags: , , , , , , , | No Comments »

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

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