What happens when you add a Zoom recorder and a shotgun mic to your DSLR rig?

You’re going to need something to hold all that gear securely.

That’s where the Alzo DSLR Transformer rig becomes an invaluable part of your kit. Here’s a short video showing how this works.

And, as I said in the video, the Alzo DSLR Transformer rig does double-duty. Besides holding all your kit, those handles produce a much more stable image when you’re shooting handheld. For the price, I think this is the best rig like this on the market.

PS – yes, I’m an affiliate of Alzo products. Hopefully you’ll like them as much as I do.

Thinking about moving into Final Cut Pro X? Not sure yet?

Watch this video where two guys take the same footage, load it into FCP7 and FCPX, then race to see who can get the final edit uploaded to Vimeo first.

I’m still running on FCP7 because all my projects are there and can’t be imported into FCPX. But the next new project is when I’ll take the plunge.

I’ve said it before but it’s worth repeating. If you are deep into FCP7 you’re not going to be happy with this update. But if you’re just getting into DSLR video and want a powerful tool set at a great price then this might be the one for you.

Here’s a link to their site with more information - clearheadmedia.com/​blog/​news/​fcp-x-initial-thoughts/​

Just came across this great music video from a new band called First Place. It was shot and edited by a Rosie Collins, a professional freelance photographer and video producer based in Soho.

I like the feel of the music and the positive message of the song. The more I found out about the band the more interested I got in the project. I connected with Rosie and got more info on the production.

DSLRHD.com – How did you get into this?

R.C. – As it seems with many people these days, I come from a photography background and so using an HDSLR like the Canon 7D makes a lot of sense when shooting video.

I’d already shot the band’s promotional photos the week before, so being comfortable with each other meant our one-day video shoot went a lot more smoothly. We’d decided on a low-key look for the video and I found a great space in central London, in a huge disused underground warehouse.

As this is their first video together as a band, we decided a purely performance-based shoot would work best.

DSLRHD.com - It looks like a great place to shoot, any issues with the location?

R.C. – The space was great but spending a whole day shooting there we discovered it was teeth-chatteringly cold and pretty damp, meaning I had to be really careful with my lenses as they kept collecting condensation. And, while it wasn’t freezing in there, I had to keep an eye on battery life, too.

The band themselves were getting pretty chilly as well. We used a smoke machine to fill the main space but all the breath you see coming from their mouths is a result of the painfully cold air.

DSLRHD.com - From the BTS photos I see you’re using a RingLite on the 7D. It’s a great look – How did that work for you?

R.C. – Using the Lite Panels RingLite while the camera was mounted on the RedRock micro turned out to be very easy – just requiring a little re-balancing. It freed me up physically to move with the performers.

DSLRHD.com - What other lights did you use?

R.C. – The rest of the video was lit with 6-bank KinoFlos, as they have such a lovely wrap-around soft light.

We also used a couple of 500w fresnels as backlights in the group shots through the smoke and as a spot coming through the doorway for the silhouette solos.

They put out enough heat that we huddled around them during breaks in filming to warm up everyone’s hands!

DSLRHD.com - What camera and lenses did you use?

R.C. – It was all shot on Canon 7D, with Nikon lenses (mostly 16mm fisheye, a 24-70mm and a 105mm macro) on a RedRock micro.

Using a Novoflex adaptor means I can use my good glass that usually goes on my Nikon D3.

Most of the video was shot at iso 640, and 25fps with everything converted to ProRes 422 for editing in FCP. I can’t see a discernible difference between the 422 and 422HQ formats, apart from the larger file size.

DSLRHD.com - What grading was done on the images?

R.C. – Grading-wise, we mainly used the FCP 3-way colour corrector, some RGB balancing, sharpening and boosted the contrast, along with warming up the whole video, having shot a fairly flat image in-camera.

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I’m always inspired when I see people accessing this amazing DSLR technology to produce and ship creative projects. I hope you find a bit of inspiration in this post to take another step toward bringing your dreams into reality.

For more info on First Place go to http://www.firstplacetheband.com

Here’s a link to Rosie’s site – www.rosiecollinsphotography.com

Here’s a video by Gustav Johannson, a Swedish director who uses extremely narrow DOF to create a story that pulls you in. I don’t know what camera or lens was used for this video but, as DSLR video shooters are all crazy for DOF and bokeh, this video should give you lots to love.

Watch it more than once. Watch in HD. Watch on the director’s web site in QuickTime.

http://www.gustavjohansson.com

Leave a comment and let me know what you think.

Okay, this has nothing to do with the technology of 1080p in a timeline or any of that. It’s just a clear explanation and example of the power of editing from a master film maker.

To me, the importance of this interview is not so much about editing. It’s about the director shooting for the edit. And that only comes with experience of going through the process from concept to distribution many times.

When he says there are 78 pieces of film in about 45 seconds, you’ve got to know that didn’t happen by accident. It was planned and shot that way deliberately.

I’m sure there were clips that weren’t planned that made it into the final scene but all of the key angles were known before the film was loaded in the camera.

Most successful directors say they can see the entire movie in their head before they shoot it. I believe that’s the job of the director.

The opposite approach is something I call the ‘shoe-box’ production method.

You have some idea of a movie and go shoot a bunch of stuff that looks cool. When you get to edit, you find a piece of music that fits your idea of the movie then start looking in your ‘shoe box’ of clips.

You find something visually interesting, drop it in the timeline and keep going until you’ve used all the clips or the music ends.

If you’re doing commercial work, you might have a narration that you’re covering with B-roll but the same thing applies.

Don’t get me wrong. I’m just as guilty of this as anyone. It’s the visual version of cotton candy, sweet but no substance.

Run-n-gun is fun. But it’s not the way great art is created. After watching this clip of a great master, I feel more dedicated to doing the work it takes to create art.

Leave your comments and let me know what you think.
-a-

BTW – there are several other clips from Hitchcock around this one on youtube worth watching if you’re interested in being a student of film making.

I came across a post in one of the DSLR video forums recently. The guy was a newbie and had a ton of questions. Of course, the replies in the forum were all over the place. There were lots of perspectives and lots of opinions. In his last post, the newbie said:

“When I started looking in here I thought I knew what I wanted. Now I’m just confused.”

I understand exactly how he feels. I went through the same thing when the Nikon D90 first came out. It’s worse now with all the different cameras and gear to choose from.

That’s why I wrote the DSLR Video Buyer’s Guide.

(Click here for iPhone/iPad version on youtube.com)

I have over 30 years in the production business and decided to put that experience into helping people make confident choices. This guide will help you know what’s right for you and your production style.

I cover all the key equipment areas – cameras, lenses, support systems, audio, and all the rest of the kit. For each category I break out what’s needed for Basic, Intermediate and Advanced productions. I also take a look at each category from the perspective of a Photographer, Video Professional and Aspiring Film Maker.

Plus I’d loaded it up with tips, tricks and techniques to help people get started in DSLR video.

Click here to get your copy right now - http://dslrhd.com/buyersguide.

Last week I had an email from a reader with a ton of questions about which camera to buy. He’s an aspiring film maker and was stuck on which camera and lens to buy to get started.

I sent him to the DSLR Video Buyer’s Guide. Here’s the email I got back.

“I read the whole thing through then went out and bought a Canon T2i. The guide was super useful, I really appreciate the work you did here.”

So take a look and let me know what you think – http://dslrhd.com/buyersguide

I look forward to seeing your film on the web.

-a-

One of the best ways to increase the production value of your DSLR video is to record great audio. Here’s a short video that will help you record better audio whether you use a lavalier or a shotgun microphone.

Enter your email and I’ll let you know when I
post more information like this is online.

Take a moment and leave your comments and questions below.

“Apple of My Eye” is an HD video shot and edited entirely on the iPhone in 48 hours.

There are three important lessons this video can teach film makers about DSLR video.

“Apple of My Eye” – an iPhone 4 movie / film -
UPDATE: Behind the scenes footage included
from Michael Koerbel on Vimeo.

#1 – Play To Your Strengths

While I’m sure they struggled with the limitations of this camera, one of its strengths is that it’s light-weight and very small.  Someone on the team must have been looking at the iPhone and wondered, “What if we mounted it on a model train and went for a ride!”

While there are other small HD cameras that could have been used – like the GoPro HD – they used the thin, light-weight form factor of the iPhone 4 to get shots where most cameras would never fit.

There is power in taking a limitation and turning it into an advantage.

For instance, if you’ve got a Canon T2i and are using the 18-55mm kit lens you’ll find it’s very hard to focus manually. I saw this as a limitation when I first got the camera and believed I’d need to replace the lens. Then I discovered how to use the auto-focus while shooting video and everything changed.

Auto-focus on the T2i is fast, accurate and can even be set to find and focus on faces. While you can’t use it when recording video, just click the shutter part-way down while you’re setting up the shot and it will hit the focus in a couple of seconds.

What looked like a problem became a strength when I worked with the tool rather than fighting it.

#2 – You Have To Shoot It Like A Movie If You Want It To Look Like A Movie

Check out the credits and making-of shots in this project. From top to bottom, they had people to play all the major production roles:

• They filled the key roles of Director, Producer, Set Design, etc. Even if the same team is just ‘changing hats’ it’s important to make sure the key roles are covered.
• They had a Writer. It’s true, all good movies are made from good scripts. This one came up with a sweet story that even leaves you wanting to know more as the movie ends. That’s good writing.
• Professional talent in front of the camera makes a huge difference in the emotional impact of the work.
• Original music grabbed your attention and led you through the emotional story line.
• No zoom? No problem. They used a variety of camera support equipment including dollies, glide tracks and cranes to move the camera into the action.
• The lighting was solid and fit the mood of the piece.
• They recorded the voices after shooting the video (ADR) and mixed them into the final sound track to get the best audio.
• The editor understood how to use the language of cinema to tell the story and maxed out the functions of the editing tool.

One of the things that impressed me about Vincent LaForet’s first DSLR movie – Reverie – was that it looked like a good movie in all respects. The fact that it was shot on a DSLR was stunning but it would have been worth watching no matter what the camera.

Making movies is not like shooting video for events or training. It’s not like shooting stills. Yes, they share common elements but the depth of skill and the breadth of specialties required for movies is unique and demanding.

If you aspire to make movies with a DSLR you may want to forget the camera for a while and learn more about the art and craft of movie production.

#3 – Movies Are Made For The Audience To Enjoy

I remember the first time I saw one of my productions on a large screen. No only were the sound and images completely different from all the times I watched it in edit suites and conference rooms, the reaction of the audience changed everything for me.

I realized that my job was to create entertainment. Sometimes the film had to help sell a product or influence opinions and beliefs. Sometimes it was to convey information required to get from point A to point B.

But if that was all I did then the film became one of thousands of meaningless productions cranked out like someone mowing a lawn.

The concept of an iPhone HD movie made me willing to take a look at this film. The opening shot and the entrance of the actors looked nice, kept me watching for a bit more to see what else they did with the camera.

But when they dissolved to that first train shot with the music twinkling magically, I forgot all of that and slipped inside their movie completely. I had to force myself to stop now and then to check out the tech. That’s an entertaining movie.

It’s a lot more work to get into the head of your audience and create something that speaks their language, something that pulls them in and entertains them, maybe even something that brings a deeper emotional moment to their lives.

But that’s the key to making movies that will keep you working in this business for years, no matter what camera you shoot it with.

Take a moment and leave a comment, let me know what you think.

-a-

Phil had a great meetup shooting time lapse of the setting sun and clouds over the beach at St. Petersburg, FL. I just got this Canon T2i and didn’t have an intervalometer so I took my monopod and grabbed shots of the beach and the people who showed up.

Shot with Canon T2i using 17-55mm kit lens. First time I’ve shot people or much anything other than test shots with this camera. I took some stills but must have hit a weird selection on the camera as they did not turn out well. My test stills at the house looked great so I’ll have to see what I screwed up.

The camera behaved pretty well. The biggest issue is focusing the kit lens. It’s way sensitive to the touch and takes just a bit of movement to throw the focus in or out. Other than having to shift from the controls on my Nikon D90, that was the only thing that felt strange. The LCD viewfinder through my Hoodman Loupe looked great.

I did feel a bit “under-dressed” as everyone else was shooting Canon 5D and 7D cameras with gorgeous lenses. My little T2i with the kit lens doesn’t carry much street cred. But I relaxed and started connecting with people, getting shots here and there. Everyone was having a good time and enjoying the great weather on the beach.

It was very windy and, even though I had a good wind muff on my recorder, most of the audio was filled with so much low end woof from the wind it was not usable. I managed to find enough background crowd noise without too much rumble to fill in the atmospheric tone.

A few of the backlit shots needed a bit of grading to pull up the faces. Some of the shots with the sun almost setting were so golden and warm that they looked like they’d been heavily graded so I pulled those down a bit. Otherwise, the footage is straight from the camera, through Magic Bullet Grinder and into Final Cut.

I dropped a track together in Apple Logic to set the pace for the edits then came back and added some fun bass and vocal lines.

Thanks for Phil for putting this together. If you ever get the chance, make the effort to get to one of his meetups, it was a lot of fun meeting everyone.

Yep, they really do ring that bell every night just as the sun slips below the horizon. Great place to visit when you’re in Florida.

Here’s a link to more video with some time lapse from one of the guys at the meetup.

While most attention in the DSLR video world focuses on Canon cameras, the Panasonic GH1 camera was an early contender in this market. A persistent programmer has hacked the firmware on this camera with stunning results.

Longshan’s People Part II – 50Mbit GH1 MJPEG from Andrew Reid on Vimeo.

Do yourself a favor and go to Vimeo to download this video. It’s worth watching in full HD.

Obviously, Andrew knows what he’s doing with a camera and has chosen a beautiful exotic subject. The sound track fits perfectly and his rough edit makes the most of his clips. And, considering his subject, I believe I can feel a sense of reverence in the work that carries through the video as well.

But the star of the show is a technical fact. The hacked firmware is allowing his GH1 to capture video at high data rates, as much as 50Mbit 1080p.

In other posts I’ve talked about how the quality of a video image from a camera is due to more than just the sensor size. The GH1 has a smaller sensor but this firmware hack results in less compression of the captured bits as they flow to the card. It’s a winning combination.

While the changes to the camera may not be easy for everyone they are programming changes and do not violate the warranty. You can change the programming back to the factory standard just as easily.

Also, the data rate is variable and the camera shifts the rate up to deal with more complex images. Evidently, it can shift the rate up enough that is can’t sustain the video recording for more than a few seconds on some shots.

To deal with this Andrew alternates between using the MJPEG video format and the 32Mbit AVCHD format. Like I said, this may be too much for some people to deal with but it’s very much in the spirit of exploration that is part of shooting DLSR video.

You can read the full details on his blog post.

Will someone come up with the same hack for Canon cameras? After seeing this, I hope someone is working on it.