April 2010 - Videomaker.com
Transcription
April 2010 - Videomaker.com
What’s Legal: Who Owns Your YouTube Video? page 64 Straight from the box to box office quality ® YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO APRIL 2010 FCC Laws and Wireless Mics Making a Music Video home video editing A8+':+/496/8+*35</+9,853</*+5589:/22/3'-+9/4)2+'8 ./-.*+@4/:/54</*+5 A**9:;44/4-+,,+):9652/9.+*:8'49/:/549'4*'4/3':/549'22(')1+* =/:./4)8+*/(2+52(>/-/:'2B95;4*'4*:+).4525->,853</*B (+./4*:.+=582*?9359:=':).+*35</+9 contents A .'8/4-56:/549'8+45='92/3/:2+99'9>5;8)8+':/</:>,8532;8'> '4*#:5&5;!;(+/5*/4:+4*5$//'4*+<+8>:./4-/4(+:=++4 JVC Discover more at pinnaclesys.com/videomaker Reviewed GZ-HM400 full screen print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aster Your Video Production Skills with Videomaker’s Ultimate Toolkits! www.videomaker.com/toolkit contents full screen print Become a member of Contents PLUS APRIL 2010 www.videomaker.com and discover a whole new level of access to Videomaker! From direct contact with our video experts to full access to all videomaker.com content, early online previews of Videomaker issues and exclusive video tips, membership truly does have its advantages! Volume 24 • Number 10 Features 27 Third Party Plug-ins Add 41 HD Video DSLRs A Different Kind of Camcorder by Doug Dixon Production Punch Effects Buyer’s Guides by Edward B. Driscoll, Jr. 46 Making Music Videos 34 CES Wrap Welcome to CES: Where Comfortable Shoes Meet Video High-Tech by Marshal Rosenthal Making Sense of Making Art by Wolfgang Porter Add to this free downloads, special contests, monthly drawings, exclusive discounts, eLetters and Videomaker priority status and the conclusion is inevitable: Videomaker Plus membership is essential for any dedicated videographer! 12 Try a trial Videomaker Plus membership, risk-free! www.videomaker.com/plus 50 Columns ON THE COVER PLUS • JVC HD Everio GZ-HM400 HD Camcorder BENEFITS Browse the site Create a profile Videomaker eNews Full access to Videomaker.com articles Access to all Tips & Tricks videos Ask the Experts - email hotline Early online access to each issue of Videomaker Free downloads Special contests & monthly drawings Exclusive merchandise discounts contents full screen print VISITOR Priority status for Videomaker events Monthly eLetters 53 MEMBER www.videomaker.com/plus 2 Viewfinder Camcorder’s Face by Matthew York 50 Basic Training When to Move the Camera by Kyle Cassidy 53 Lighting What is Lux? by Terry O’Rourke 55 Projects that Pay TV vs. Web Advertising by J. Michael Long 58 Editing Tips for Lower Third Titles by Mark Montgomery 60 Audio FCC Laws and Wireless Mics by Hal Robertson Next Month How to Make a Documentary Best Computer for Editing How to Buy Gear 64 What’s Legal Is YouTube for You? by Mark Levy and Nick Andreadis On Sale April 13, 2010 VIDEOMAKER >>> APRIL 2010 27 34 Departments 4 6 8 10 57 In Box Reader Letters Quick Focus Topical News New Gear Hot off the Presses Reader Profile Behind the Lens Ad Index Reviews 12 JVC HD Everio GZ-HM400 HD Camcorder by Luke Scherba 14 Corel Digital Studio 2010 Video Editing Software by Mark Holder 16 Sony Sound Forge Pro 10 Audio Editing Software by Doug Dixon 19 Glidecam X-10/HD-4000 Stabilizing Device by Brian Peterson 22 Zacuto Z-Finder Optical Viewfinder, Switronix DSLR-PRO Camera Shoulder Support ikan V5600 5.6" TFT LCD Monitor DSLR Accessories by Mark Holder 1 contents full screen print VIEWFINDER Videomaker empowers people to make video in a way that inspires, encourages and equips for success. We do this by building a community of readers, web visitors, viewers, attendees and marketers. by Matthew York Camcorder’s Face contents full screen print I have been writing this column named Viewfinder for Videomaker since 1986. I can’t recall if I have ever written about the word viewfinder, before today. According to Wikipedia… In photography, a viewfinder is what the photographer looks through to compose, and in many cases to focus, the picture. Viewfinders are used in many cameras of different types: still and movie, film, analog and digital.* The viewfinder is critical for the camera operator to see the image being captured. Louis Le Prince invented and built the first motion picture camera in 1888, and it had very simple viewfinder, but we can’t be sure of this because it no longer exists, as Louis and his belongings disappeared mysteriously in 1890. The Frenchman boarded a train beginning a journey to England, to be followed by a trip to the USA to promote his invention. However, Le Prince did not arrive in England and was never seen again. Since Louis’ invention of the motion picture camera, the viewfinder has been a part of the camera because it needs to be close to the lens that is capturing the image. In recent years, we have seen video cameras separated from the viewfinder and connected by wire (or even wireless). Necessity is the mother of invention, so this solution was born where traditional camcorders were not effective. This uncoupling of the video camera and the viewfinder has found a following the in the youth sport of skateboarding. It is easier to skateboard without holding a camcorder in hand. The viewfinder is attached to a visor and the tiny camera can be held in one hand, fastened to the skateboard or a headband. Samsung used to offer a sports camcorder that catered to this market, but discontinued the product. The independent camera and view* http://en.wikipedia.org/wiki/Viewfinder finder idea has been used for years in covert surveillance. Supercircuits, in Texas, has a wide selection of tiny cameras and one-inch color test monitors. Someday we will look back on the silly era when people had to hold camcorders in front of their face when shooting video. This configuration is helpful when holding a camcorder is inconvenient or draws too much attention to the camera operator. Having the separate video camera and viewfinder is useful whenever a camera operator wants to record video without changing the behavior of the subjects. This is often useful in creating a documentary. The impact of the camera operator upon the subject being recorded is an enormous topic in the world of making documentaries. Some believe that any appearance of being recorded alters the behaviors of the subject, so there is really no such thing as a true documentary. Others believe that leveraging the recording process with a big professional-looking camcorder elicits subjects to engage in unique showboat behaviors that make for a better documentary. Matthew York is Videomaker's Publisher/Editor. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14539 in the subject line. publisher/editor associate publisher Matthew York Patrice York executive editor managing editor technical editor associate editor associate editor editorial assistant Scott Memmott Jennifer O’Rourke Derek Sine Tom Skowronski Dan Bruns Julie Babcock contributing editors Kyle Cassidy Mark Levy Mark Montgomery Hal Robertson production director art director/photographer Melissa Hageman Susan Schmierer advertising director advertising representatives telephone (530) 891-8410 account executive classified account executive marketing director marketing coordinator marketing coordinator Terra York 24 each $ 95 Buy the Sets and Save Over 30%! • Set of 8 Tips & Tricks DVDs $139.95 • Set of 3 Brown Bag DVDs $21.00 (regular price $199.60) (regular price $29.87) Videomaker Tips & Tricks Series - $24.95 each Isaac York Joshua Kidder OUTDOOR VIDEOGRAPHY FIELD AUDIO ONLINE VIDEO Dawn Branthaver Joseph Ayres Kent Hinesley Making nature's wild sounds work for you in an uncontrolled environment is just one of the shooting challenges you'll learn from this DVD. Learn tips on wireless lavalieres, hidden & boom microphones as well as digital video recorders. Gain new insight into creating video projects for online video sharing sites! GREEN SCREEN SPECIAL EFFECTS VIDEO LIGHTING ACTION VIDEOS Learn how to create glitter FX, bullet holes, fake fire & more! Take your special effects skills to a higher level. From cheap lighting solutions to creating mood lighting, learn the best techniques to light your video world. From shooting fight scenes to editing & transitions, learn to create spinetingling action videos. manager of information systems IT assistant Andy Clark director of finance accounting assistant customer service Stephen Awe Sandra Wells Michelle Vinay Lance Olinger subscription information Videomaker Subscription Fulfillment P.O. Box 3780, Chico, CA 95927 telephone: (800) 284-3226 e-mail: customerservice@videomaker.com address P.O. 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P R I N T E D IN USA VIDEOMAKER >>> A pRI l 2010 Take Your Video Production to the Next Level! Learn all you need to know about green screening with several step-by-step demonstrations! MAKE MONEY WITH VIDEO Learn how to shoot live events, enter video contests, sell your stock footage & start a wedding video service! Also included on the DVDs are many related PDFs of our best articles and other bonus materials. Videomaker Brown Bag DVDs! - $9.95 each VIDEO CAMERA TECHNIQUES Learn camera shooting angles, depth of field, screen direction & how to create different shot types. EDITING AND CONTINUITY TIPS From time remapping to transition effects, this DVD provides some helpful editing tips & techniques. AUDIO FOR VIDEO TIPS Learn great tips on audio for your videos. Ambient noise, weather effects, sound effects & more! Order Online www.videomaker.com/ttdvd or call Toll Free 800-284-3226 Call or go Online for Shipping Rates contents full screen print IN BOX readers' letters Address your letters to In Box, c/o Videomaker, P.O. Box 4591, Chico, CA 95927. Videomaker is unable to process personal replies; however, questions of interest to the Videomaker readership will appear in print. You can also submit In Box entries by e-mail: editor@videomaker.com. Submissions to In Box become the property of Videomaker, and we hold the exclusive right to publish them in print, on the web or any other medium. Submissions may be edited for length, grammatical correction or technical clarity. Publication of In Box letters is at the discretion of the Videomaker Editorial staff and does not represent the opinions of Videomaker, York Publishing nor any of its advertisers or representatives. Have You Heard the News? Videomaker Magazine Who Owns Your Footage: You or YouTube? contents full screen print timeline worked a lot like layers did. I purchased [Videomaker’s training I enjoyed the January’s What’s Legal videos] to educate myself. column and I have a question. On the I have moved up some, but I don’t news, we frequently see YouTube vidreally have the need to go high-end to eos shown. An over-aggressive police be professional. The connectors used officer or an irate person at a town hall to be RCA, and now they are FireWire meeting are two recent examples. The and HDMI. Some of the snobbish set news stations frequently give “credit” like to brag on certain hardware and to YouTube, and no one else. In small software details, they might have the print it simply says “YouTube” or latest gear, but I don’t think many of “Courtesy of YouTube.” Isn’t the owner them have an ounce of talent. of the clip supposed to get credit at a I edit on an Apple using Final Cut minimum, or even give permission for Pro, with footage shot with a Sony the use of the clip at the maximum? HVR-Z1U. I have an extensive Digital YouTube doesn’t own all the clips that I Juice library, and Adobe CS4 Producand others posted there, do they? tion Premium. My tripod is a Bogen Rich Wilson, Manfrotto with a 503 Head, and I Wyalusing, PA have a 3 Omni light kit from Lowel. I am saving for a Sennheiser shotgun A very good question, Rich, and the microphone (the $800 one). My studio short answer is, by uploading your is a 16x20 spare bedroom, and I am footage to YouTube you gave away a professional. Why? Because I am ownership rights. But it’s more compaid. I make home videos, video blogs plicated than that, of course, and so we and the like for fun. I edit small group sent your question to our legal expert, studies and local TV shows for money. Mark Levy. His reply is the subject of Honestly, I find that there is no real this month’s What’s Legal column difference between the two when it on page 64 of this issue, or online at: comes to the process of obtaining the www.videomaker.com/article/14680. end result. —The Editors Really, one’s focus needs to stay in the area of developing talent and skill. Why I Read Videomaker Yes my equipment may be better than I read your article about the differsome and lower-end than others (I ence between pro and home video, had someone refer to my studio as a and which direction to go (Viewfinder, “Fisher Price setup”), but that comes January 2010, www.videomaker.com/ with time, need and funds. I read your article/14518). magazine for the goodies and test reI have been editing video since views, but your skill building advice is 2001. My first computer had a Pinwhat keeps the subscription coming. nacle Breakout Box, and my camera We all have to start somewhere, and was a VHS monster. I was playing and when I started I found this magazine. having fun. I found editing footage You were with me in the beginning was easy because I had been using and helped me grow. I read some of PhotoShop since version 4.0 and the the high-end publications (note my reluctance to call them a magazine because they might get http://videomaker.com/community/forums offended?), but you keep it all 4 VIDEOMAKER >>> APRIL 2010 simple. Keep up the great work! Gene Jordan Thanks, Gene… what can we say, you made our day! We can’t say it enough: anyone can make good video using the most basic tools, if they understand the techniques needed for good execution and the right eye for composition. —The Editors Correction: Steadicam In our March issue Supports Buyer’s Guide, (www.videomaker.com/article/14748/) we inadvertently mentioned the Steadicam JR model as one belonging to the Tiffen company. This model was replaced by the Steadicam Merlin a few years back. We apologize to our readers and the Tiffen company for any problems this may have caused. Also of note, Tiffen offers a range of Steadicam models to meet the needs of camera operators from Hollywood to emerging professionals, from the Steadicam Ultra 2 coming in around $60,000 to the Merlin starting at less than $850, as well as other body-supported versions that offer specialized configurations. Tiffen also offers three day workshops that can help camera operators gain an understanding of how to properly, balance, wear and use a Steadicam rig. Correction: Canon In our review of the Canon VIXIA HF S11 AVCHD camcorder in January 2010 issue, (www.videomaker.com/article/14528/), we inadvertently listed “no manual focus ring” as a weakness. However, this model does indeed have a manual focus ring. We apologize for any confusion this may have caused. Is Now Available Online! Free to Subscribers To view the Digital Edition simply log in using your Subscription ID Exciting New Benefits! • View Videomaker online from anywhere • Full Color layout appears exactly as it does in the magazine • Use the search function to get the information you need when you need it • Links from the index go directly to articles • Access URLs and email addresses with just one click contents FEEDBACK For comments on this article, email us at editor@videomaker.com, use article #14702 in the subject line. www.videomaker.com/digital full screen print quick focus A $300 Video with a 30-Million Dollar Offer by the Videomaker Staff Blu-ray to Increase Disc Capacity? Panasonic and Sony have developed a new evaluation technology that has 3D movie and gaming enthusiasts speculating on the future of 3D Blu-ray disc technology. The i-MLSE (Maximum Likelihood Sequence Estimation) evaluation index will allow Blu-ray media to increase its layer capacity from 25GB to 33.4GB per layer (or up to 66.8GB dual-layer capacity). Since the increase in layer capacity allows for the continued use of the current Blu-ray laser diodes, a firmware upgrade is, presumably, all that is required for existing Blu-ray Disc players. Meaning, the Blu-ray player you just spent a chunk of change on isn’t obsolete, yet. As of right now, the increased media capacity is nothing more than an announcement of developed technology. According to Bluray.com, there is “no word on when or if the Blu-ray Disc Association will evaluate the proposed layer capacity increase for inclusion in the Blu-ray spec, but with Sony and Panasonic two of the largest Blu-ray members, it will likely happen sometime later this year.” - by Julie Babcock It only took $300… and Fede Alvarez landed himself a Hollywood movie deal, a viral video and $30 million. Talk about inspiration; nothing can be more inspiring than Fede’s road to success. Alvarez, a commercial director from Uruguay, caught the eye of esteemed filmmaker Sam Raimi. Raimi’s Ghost House Pictures has agreed to develop and direct Alvarez’s original science fiction-style project. Drawing comparisons to District 9, Alvarez’s movie entitled Ataque de Panico! (Panic Attack) has created a buzz amongst the YouTube crowd, reaching more than 1.5 million views. After becoming viral in such a short span of time, Alvarez claims his e-mail inbox was full from directors and Hollywood types trying to nab his film. The video itself uses the heart pulsing soundtrack from 28 Days Later to build up its anticipation of the large invasion brewing and is a nice combination of influences. This just goes to show you, sometimes it just boils down to talent! Now follow this link, watch the video for yourself, and be sure to tell us what you think! www.videomaker.com/r/389 - by Tom Skowronski How USB 3.0 Speed Will Make Video Production Easier contents full screen print When HD was first introduced to the video world back in the 1990s, IT departments at production houses around the world gave a collective groan. Back then the best video transfer speeds were 50MB/s with a FireWire cable, making HD video transfers a huge vortex of wasted time. With the advent of FireWire 800 (which was capable of speeds up to 100MB/s) and eSATA (with speeds up to 380MB/s), video transfer speeds took a huge leap forward. Even so, video editors were still losing precious years of their life waiting for HD projects to transfer from one hard disk to another. Now USB 3.0 is looking to solve that problem. With the support of manufacturers such as Sony, Intel, Microsoft, Compaq and IBM, USB has quickly become the connection of choice for computer equipment ranging from keyboards and mice to coffee warmers and iPods. As a result, USB cables and connections have become by far the most common in the computer world. So when USB 3.0 was announced in 2007 with speeds up to 400MB/s, the video world quickly realized that there was huge potential behind the new technology, due to its many features and advantages. One of the greatest features of USB 3.0 is that a 25GB file can be transferred in just 70 seconds, essentially eliminating the frustration of wasted time when transferring large HD assets from one hard drive to another. Additionally, with such high read/write speeds, USB 3.0 has become a viable connection for editing on external hard drives without the speed delays of current connections. This gives studios and editors a reasonable workflow option in a world where solid-state media recording has become the new norm. With rapidly falling prices on external storage, studios now have the option to buy hard drives such as Buffalo’s newly-released SuperSpeed USB 3.0 external DriveStation HD, edit on them and then store them much like tapes were stored in the past (www.videomaker.com/r/390). The advantages of this setup is, when a client asks for a re-edit on an old project, instead of having to reconnect footage from tape, studios can simply connect their external hard drive using USB 3.0 to their computer and start editing right away, saving huge amounts of transfer time. Lastly, another potential advantage of USB 3.0 is its increase in the market. It is quite possible that if you are at a friend’s house with a USB 3.0 hard drive and no cable, your friend will probably have a USB 3.0 cable to let you hook your hard drive to your computer. As great as USB 3.0 could be for video editors, there are also some other interesting products that could be a great boon to the video-editing world. Just this last May, the Serial ATA Organization announced the specs for SATA revision 3.0 (www.videomaker. com/r/391) allowing for transfer speeds of up to 700MB/s. Also, Intel announced a curious new technology called Light Peak (www.videomaker.com/r/392). Light Peak is an optical cable standard that can deliver bandwidth from 1.25GB/s to 12.5GB/s. Whichever technology becomes the standard, one thing is for sure: the future for HD video production has never looked so good. - by Dan Bruns SDI to Analog Analog to SDI SDI to Audio Audio to SDI SDI to HDMI HDMI to SDI Optical Fiber Sync Generator $495 $495 $495 $495 $495 $495 $495 $295 The most advanced 3 Gb/s converters for SD and HD that include AES/EBU and analog audio! Build your studio with the world’s most advanced converters. Only Mini Converters include auto SD/HD switching, redundant input, AES/ EBU and analog audio on 1/4 inch jack connections, plus advanced 3 Gb/s SDI! There are 8 great models to choose from depending on the conversion you need! Auto Switching SD and HD 3 Gb/s SDI Technology Mini Converters include the latest 3 Gb/s SDI technology, so you’re always future proofed! 3 Gb/s SDI is also fully compatible with all your existing standard definition and high definition SDI equipment. Broadcast Quality Mini Converters instantly switch between all SD and HD formats, including NTSC, PAL, 1080i/59.94, 1080i/50, 1080PsF/23.98, 1080PsF/24, 720p/59.94, 720p/50. Updates can be loaded via USB. Mini Converters are built to the highest quality standards with low SDI jitter, so you get the longest SDI cable lengths combined with ultra low noise broadcast quality analog video and audio. Mini Converters are the world’s first converters to include 3 Gb/s SDI on all models! Redundant SDI Input Eight Exciting Models Most Mini Converters feature a redundant input and loop through SDI output. Connect a redundant SDI cable to the second input, and if the main SDI input is lost, Mini Converters will automatically switch over in an instant. That’s great for mission critical tasks such as live events. Mini Converters include more new technologies than other converters, while every model is an affordable $495. The Sync Generator model is only $295! Pro Analog and AES/EBU Audio Standard 1/4 inch jacks are built in to most Mini Converters for professional balanced audio that switches between AES/EBU or analog. Unlike other converters you don’t need expensive custom audio cables. Mini Converters $495 Sync Generator $295 full screen print Learn more today at www.blackmagic-design.com VIDEOMAKER >>> Ap RIl 2010 contents THE ULTIMATE IN VIDEO SHOPPING: NEW GEAR adorama.com hot off the presses 14 Day Money Back GUARANTEE check our website for details SAME DAY SHIPPING -9,,:/07705. +(@:465,@)(*2 by Derek Sine VUVYKLYZWSHJLK[PSS!74,:; RQWKRXVDQGRILWHPV 4VUKH`[OY\;O\YZKH`-YPKH`[PSS!74 VDWLVIDFWLRQJXDUDQWHH MVYJVTWSL[LKL[HPSZJHSSVY ]PZP[\ZVUSPULH[HKVYHTHJVT VUTVZ[PUZ[VJRP[LTZ MVYJVTWSL[LKL[HPSZJHSSVY ]PZP[\ZVUSPULH[HKVYHTHJVT >,)<@;9(+, XVHGSKRWRYLGHRHTXLSPHPHQW MVYTVYLKL[HPSZ]PZP[HKVYHTHJVTZLSS CAMCORDERS Twenty20, Inc. – Wearable HD Cam The Wearable HD Camcorder shoots and shares 1080p video. Available in two models, ContourHD and the ContourHD1080p. Record all of your adventures to a removable microSD memory card (compatible up to 16GB). VholdR also offers tons of accessories to mount these cameras in any situation you run into. VIXIA HV40 VIXIA HF S11 FS200 VIXIA HF200 • High Definition Mini Camcorder • 10x Optical Zoom, • 200x Digital Zoom, • 2.7” Widescreen LCD Display • Dual Flash Memory Camcorder • 10x HD Video Lens, • 8.59 Megapixel • Full HD CMOS Image Sensor • Flash Memory Camcorder • 37x Optical Zoom, • 2000x Digital Zoom, • 2.7” Color LCD Display, (Silver) Available in Black, Red, • Flash Memory Camcorder • 15x Optical Zoom, • 300x Digital Zoom, • 2.7” Color LCD Display Available In Silver, Red or Blue HDR-XR200V HDR-HC9 HDR-FX7 HDR-FX1000 • 120GB HDD High Definition Handycam Camcorder, • Carl Zeiss Vario-Tessar Lens, • 15x Optical/180x Digital Zoom Lens, • 2.7” Touch Panel LCD • MiniDV HD Handycam Camcorder, • Carl Zeiss Vario-Tessar Lens, • 10x Optical/20x Digital Zoom Lens, • 2.7” Touch Panel SwivelScreen LCD • Digital HDV 1080i HD Handycam Camcorder, • 3-1/4” ClearVID , • 20x Optical Zoom • Carl Zeiss Lens, • (211K Pixels) Wide (16:9) Hybrid Clear Photo LCD plus Display • High Definition MiniDV (HDV) Handycam Camcorder, • 29.5 - (16:9), 36.1 - 722mm (4:3) f/1.6-f/3.4 Lens • 30x Digital Zoom GZ-HM400US EVERIO HD EVERIO GZ-MG630 GZ-X900US EVERIO HD PICSIO GC-FM1 • 10.3 Megapixel CMOS Sensor, • Full High Definition 1920x1080 AVCHD Format Video, • Built-in Flash 32GB Memory, SD/SDHC Camcorder, • Real 9 Megapixel Stills • 60GB Hard Disk Digital Media Camcorder • 35x Optical Zoom, • 800x Digital Zoom, • 2.7” Widescreen LCD Display, Available In Sapphire Blue • SD/SDHC Card Dual Memory Digital Media AVCHD Camcorder • 5x Optical Zoom, • 200x Digital Zoom, • 2.8” LCD • Real 9 Megapixel Stills • 1080P/30fps HD Video Recording •4x Digital Zoom • 8 Megapixel Still Image Recording • Image Stabilizer • 2.0” Color LCD • SD/SDHC Card Compatible (up to 32GB) Available In Purple, Black, Blue www.vholder.com Suggested Retail Price: ContourHD $300 ContourHD1080p $330 Mediapreview Ltd. – Vintage Clips The 8mm Distress Kit is a collection of 28 clips taken from vintage 8mm cine film. Compatible with any NLE with blending/transfer or compositing modes, the clips are overlaid on sequences, clips and transitions to give your film an unusual lift and a touch of oldschool sizzle. Available as a royalty-free digital download. www.mediapreview.net/8mm.htm Suggested Retail Price: 8mm Distress Kit $35 OWLE – Handheld Device for iPhones The OWLE bubo is a solution for improving the quality of mobile video, specifically for the iPhone. The OWLE bubo comes standard with a coldshoe mount on top for any accessories, four tripod mounts and standard 37mm lens threading, so that you can put your own lenses on it in addition to the lens that the bubo comes with. contents VPC-CG10P XACTI DXG-567V • 10 Megapixel HD Digital Video Camcorder, • 5x Optical Zoom • High Definition 5 Megapixel Digital Video Camera, • 32 MB Internal Memory & SD / SDHC Card Slot, • 1280 x 720 Resolution, Available in Black, & Pink. MINO HD ULTRA II • HD Camcorder • 120 Minutes Capacity • 2.0 LCD • 8GB Internal Memory • HDMI Connection • 2x Digital Zoom • Built-In FlipShare Software • HD Camcorder • 120 Minutes Capacity • 2.0 LCD • 8GB Internal Memory Available in Black, White, Pink & Yellow. www.wantowle.com Suggested Retail Price: OWLE bubo $130 full screen print VIDEOMAKER >>> A pRI l 2010 contents full screen Check our web site for a full line of: • • • • • MP3 Players GPS Cell Phones Computers Home Office • • • • • Astronomy Photo Optics Printers Etc. INC. 42 West 18th Street New York, N.Y. 10011 info@adorama.com Order Toll Free USA / Canada - 800-223-2500 Orders & Information - 212-741-0052 print READER PROFILE Behind the Lens - Lisa McCormick How Video Took My Business (and Passion) Global: A Musician’s Story Name: Lisa McCormick Cameras: Canon Vixia HV30, Flip Ultra HD Editing Platform: Final Cut Express, iMovie 6 Microphone: Audio-Technica Pro-70 Lavalier Mic Support Gear: Sony VGN-AW220J 4GB RAM, Miller Solo DV, DV Kitchen (file conversion software), Epiphone Masterbilt Acoustic Cutaway Guitar If you told me five years ago that by 2010 I would be teaching guitar lessons to thousands of students around the world, I would have thought you were nuts. An on-the-road performing musician for many years, I began teaching lessons in my home studio as a way to spend more time at home yet continue working in music. I love teaching guitar, helping people with the desire to learn guitar get over the hump and begin making music of their own. Much to my surprise and delight, my business as a guitar instructor took off fast, and quickly became very successful. I taught private lessons to more than thirty students per week, and had a waiting list that was at least twice that number. But this was mixed news. With my schedule booked to the gills, I was not only exhausted, but also had no place to go with the business. I was completely maxed out, turning away more clients than I served. I considered opening a contents full screen print guitar school, hiring teachers and renting classroom space, but I felt this would not be a good fit for me. I’m an artist and a teacher, not an administrator. And that’s when a video camera swept in and completely changed my life. Keep in mind that I did not own, nor had ever operated, a camcorder. I did use internet teaching on a major guitar lesson site called GuitarTricks. com. I noticed that GuitarTricks.com was accepting applications for faculty instructors, and the idea intrigued me. The application process required submitting a sample lesson on video. Oh no! Accepting the challenge, I ran out and bought a small video camera and more than one For Dummies book to help me navigate the big learning curve ahead. I created my application video and sent it off. The email came a few days later: I got the gig! Now I had some serious learning to do. Three-point lighting, dual source audio, video editing, file compression More information and resources: Sample Video Guitar Lesson with Lisa: http://tiny.cc/FreeLisaLesson GuitarTricks.com, Online Guitar Lesson Site: http://tiny.cc/GuitarTricksWelcome Guitar Life, Lisa’s Blog for Guitar Lovers and Learners: www.GettingStartedWithGuitar.com Lisa’s Website: www.LisaMcCormick.com 10 VIDEOMAKER >>> APRIL 2010 – it was all brand new to me. Long story short, I now teach guitar via video to students all over the world. I set up my own small video studio in my home where I create video guitar lessons, which are posted to GuitarTricks. com and accessed by thousands of people per month. I recently flew from Vermont to California to do a live video shoot to be broadcast on the GuitarTricks.com YouTube Channel. I am also in the process of creating a full set of welcome videos to be placed throughout the GuitarTricks.com site. The unlikely marriage of teaching guitar lessons and learning to use video technology has allowed my modest music business to go global and has opened up limitless possibilities for growth. It thrills me every day to correspond with my students via e-mail, whether they are in Belgium or Nigeria or Michigan or Korea or anyplace in between. We all share the love of the guitar, and video has allowed us to make a real, human, and global connection. Lisa McCormick, Guitar Instructor Interested in telling us about your video-producing passion? Send us your profile, in 500 words or less, to editor@videomaker.com, using “Reader Profile” in the subject line. Please send us usable photos and tell us about your gear. For more details, go to our website and follow this link: www.videomaker.com/r/371. contents full screen print reviews reviews JVC GZ-HM400 HD Camcorder JVC GZ-HM400 HD Camcorder TeCH sPeCs Recording Media: 32GB Flash memory, SD/SDHC card Video Format: AVCHD, 1080i, 60 fields/ sec. (5-24Mbps) Audio Format: Dolby Digital, stereo, 48kHz (256kbps) Image Sensor: 1x1/2.33" CMOS; 10.3 Megapixel Bit Size HD b y L u k e Scherba W ith so many new camcorders flooding the market consisting of names from A to Z and random numbers thrown in, where to begin? The question is begging to be asked: “Which camcorder is right for me?” JVC might have the answer with one of their higher-end consumer HD camcorders, the GZ-HM400. We’re impressed at first power-on with this upper-end JVC Everio stylish handheld beauty, with its compact metal casing (fitting nicely in the palm of one’s hand) and its generously large lens. There’s no power button in sight, so the keen camcorder user who instinctively opens the LCD to dig deeper will be pleasantly surprised by a speedy automatic startup with little hesitation. There’s only a bling of a lag time in the JvC Company of America 1700 Valley Road Wayne, NJ07470 www.jvc.com strengths •Compact • Solid build • Easy transfer of files to computer weAknesses contents •Proprietary video format • No viewfinder, LCD only full screen print $1,000 12 playing of the operation sounds (which we quickly turned off in the menu settings for shooting in stealth mode). Menu operations are a breeze with JVC’s Laser Touch operation, but be careful, a breeze is enough to set the menu off in the wrong direction. High End, Yes or No? Any conspicuous consumer or entry-level prosumer looking for a high-quality, yet effortless camcorder would be captivated by the GZ-HM400. Travelers, sports enthusiasts, coaches, parents or team leaders would find this camcorder to be a great buy; nonetheless it makes an excellent alternative high-end camcorder to carry in your professional toolbox as well. AVCHD: Pro or Con? One of the coolest features of Flash memory camcorders may also become the biggest hindrance. The GZ-HM400 records to its internal 32GB Flash memory or optional SD memory card in AVCHD, which is a video format that is loosely-defined – there are differences in AVCHD implementations among many camcorders and editing software titles. The ease of transfer is remarkable when video is backed up off the GZ-HM400 and you are left with .mts files. These .mts files are highdefinition video files compressed with MPEG-4. Before you buy a camcorder, be sure to think ahead and know what VIDEOMAKER >>> APRIL 2010 editing software you will be using. The .mts files are compatible with some versions of Final Cut, Sony Vegas and Corel VideoStudio, yet they are not compatible with Adobe CS3, requiring upgrades to CS4. Buying this camcorder may mean buying new editing software in some cases. The camcorder comes packaged with software to back up, export, burn to DVD and upload to YouTube. The “upload to YouTube” option is a huge perk. Enter your YouTube info once, and bam! You can upload your footage as you brush your teeth and crawl into bed. There are options to change chapters and remove clips from the DVD burning process, though the camcorder does not come with software to edit the video footage (such as crossfade, adjusting brightness and contrast, add additional audio tracks or any multilayer editing). Looking carefully at your production goals and looking down the road will Sidemount buttons LenS Interchangeable Lenses: No f-Stop: f/2.8 Optical Zoom: 10x Focal Length: 6.7-67mm Filter Diameter: 46mm Focus: Auto/manual Max Shutter Speed: 1/4000 Image Stabilization: Optical Internal nD Filter: No VIDeO FeATUReS Shutter Speed Control: Auto, manual White Balance: Auto, manual, preset Direct Iris/Gain Control: Yes Zebra Stripes: Yes Histogram: No Viewfinder: No be the difference between your favorite camcorder ever, and the quickest item you’ll ever want to return. The Camera Itself If the issue of loosely-defined video formats doesn’t bother you, or you have no large desire to edit a bunch of footage, then this camcorder is a ten-plus. The GZ-HM400 has a nice metal casing. The camcorder is nicely constructed and made of durable parts. It possesses the ins and outs you would expect from a camcorder in the thousand dollar range, such as component, composite and HDMI outputs; 1/8-inch headphone jack; 1/8-inch mic input; and USB out to the computer. All this, with a sleek and attractive look. The lens dominates the front end of the LCD monitor: 2.8", 16:9 HD Focus Assist: Peaking Face Detect: Yes Color Bar Generator: no AUDIO FeATUReS Standard Microphone Input: Yes, 1/8" VU Meters: Yes Level Controls: Yes Separate Level Controls for each Channel: No Headphone Jack: Yes, 1/8" Speaker: Yes VIDeO InPUT/OUTPUT Analog Video In: No Analog Video Out: Composite, component Digital Video I/O: HDMI MISC Wireless Remote: Yes Battery Charging: On-camera Form Factor: Standard Onboard Video Light: No Battery Type: Lithium ion Accessory Shoe: Yes, cold camcorder in the best way possible, giving you maximum light intake. Outstanding automatic settings make manual controls unneeded, but do not fear – JVC does not disappoint with its pinpoint-accurate tiny dial wheel for focus and iris. The variable zoom control is a definite plus. Both record buttons are intuitively placed where your thumbs would naturally rest, making activating recording ultra-spontaneous. The snapshot button is placed nicely atop the camcorder where your index finger rests, making every aspect of this camcorder simply natural to operate, with few hand adjustments. Quality Footage Putting this camcorder through a variety of light and motion scenarios VIDEOMAKER >>> APRIL 2010 yielded positive results. The GZHM400 rendered a very clear image in good light, while lacking in low light with slightly grainy blacks. Solid images despite fast motion are a plus, and still shooting is no more than a switch away. The quality of the 9megapixel still photos is acceptable, though not stunning. A decent image stabilizer on this compact companion makes this camcorder great for on the move. The GZ-HM400’s accessory shoe puts this camcorder towards the top of its class in style. A gentle press and slide reveals a shoe mount for an external light or audio accessory, but this mount is merely a shoe and is not “hot” (powered by the camcorder). With all things considered, this compact, stylish little HD marvel is truly a great camcorder, with its ultraclear image quality, ease of functionality, light weight and solid build. This will be an enduring video camcorder that is expected to pass the test of time and production. When you look back over the years, you will not only be pleased with the footage you have, but also the unique video cataloging that neatly organizes all the footage by date on an Outlook-style calendar that comes prepackaged with the camcorder. Never lose footage, never wonder "when was that?” or get confused with unlabeled footage. sUMMArY The JVC GZ-HM400 is a handy little HD hard-drive camera with tons of bells and whistles for its size. Luke Scherba is a video producer and small business owner. contents FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14625 in the subject line. 13 full screen print reviews reviews Corel Digital Studio 2010 Corel Digital Studio 2010 limited metadata information and can rate your photos based on a one- to five-star rating system. For Ease of Use, Corral This Digital Suite Video Corel VideoStudio Express 2010 allows you to create simple video projects with limited editing capabilities. You can trim or split your clips or take a snapshot if you like. The More Tools slide-out tool bar lets you adjust the white balance and brightness, reduce noise and shake, add tags and view clip metadata. You have options to change styles, select and customize titles, add background music and record your own voiceover. The built-in moviemaker contains templates for a more professional look and does much of the work for you. b y M a r k Holder C orel’s Digital Studio 2010 combines photo and video editing, burning software and a video player to create a respectable suite of applications that should be well suited for the hobbyist or home user. Burn Centralized Launch Once it's installed, you will find the Corel Digital Studio Gadget now graces your desktop. The Gadget provides a centralized launch pad with easy, single-button access, to each of the Digital Studio’s applications. Corel inc. 385 Ravendale Drive Mountain View, CA 94043 www.corel.com sTreNGTHs • Desktop gadget for centralized launching of included applications • Easy-to-use interface, consistent across applications • Nice templates for photo, slideshow and movie projects • Video playback bookmarking feature weAKNesses contents • Does not support Blu-ray • Few photo effects full screen print $100 14 Consistent Interface The Photo, Video and Burn buttons launch separate applications, each with a similar look and feel. Such consistency from application to application lessens the required learning curve while increasing user friendliness. Each application’s interface opens with media assets displayed in the center. A menu, which includes Import, Create, Print and Share options, lies across the top. Media library and folder navigation stands along the left side of the interface. The media tray, where assets are dragged for various projects, lies across the bottom. Digital Studio is highly visual, utilizing sizeable thumbnails and fly-out menus with large, colorful icons. In each case, export options include e-mail as well as upload to Facebook, Flickr and YouTube. Photo Corel PaintShop Photo Express 2010 contains familiar tools used to VIDEOMAKER >>> ApRIl 2010 straighten and crop photos and to fix red eye. There is a Quick Fix button designed to make adjustments automatically. Its purpose is to improve various aspects of the selected photo; DIGITAL STUDIO IS HIGHLY VISUAL, UTILIZING SIZEABLE THUMBNAILS AND MENUS. however, you will probably fare much better by using the slide-out tool bar on the right of the interface and making the adjustments manually. Here you have control over brightness, shadow, highlight, saturation, sharpness, fill flash, edges, frames and several other correction tools. I would like to see a few more effects included, however, as the application contains only black-andwhite, sepia, antique and soft focus. You also have the option of adding The suite’s burning application is Corel DVD Factory 2010. Media is imported from a wide array of sources and exported to audio, video or data backup discs. Additionally, your finished work may be copied to any of a number of external devices, including Apple iPod and iPhone, Sony PSP, MP3 players and various mobile phones. Corel Interface TeCH sPeCs Intel Core Duo T2400 1.83GHz, AMD Athlon 64 X2 3800+ 2.0GHz or higher recCPU: ommended Operating System: Microsoft Windows 7, Windows Vista or Windows XP, with latest service packs installed System Memory: 1GB of RAM (2GB or higher recommended) Video Memory: 128MB VGA VRAM or higher (256MB recommended) Hard Disk Drive: 4GB of free hard drive space Monitor: 1024x768 minimum display resolution Sound: Windows-compatible sound card Optical Drive: Windows-compatible DVD-ROM for installation, recordable DVD drive required for creating DVDs Internet connection required for online features. Online printing services are available in select countries only and subject to additional charges. You can add chapters, move graphics around within the selected template, change title properties, select background music and even change template styles at any time. The Settings slide-out tool bar allows you to select DVD-video or AVCHD as your project format, normalize audio tracks, adjust the aspect ratio, choose NTSC or PAL, select the video quality and even choose between Dolby and LPCM as your audio format. Play Corel WinDVD 2010 plays video files with ease, whether located on your DVD drive or your hard drive. It sports a menu across the top that allows you to play video from various locations, as well as access tools such as Bookmarks, Capture, Enhancements, DVD Title and Chapter information and an eject button. V I D E O M A K E R > > > A p R Il 2 0 1 0 Bookmarks is a welcome feature that allows you to mark a favorite spot on the timeline so you can easily return to it later. Capture lets you record portions of the video you are watching. Enhancements gives you control over playback device selection and settings, an equalizer, audio adjustments, color, various video enhancements along with time-stretching controls. For the home user seeking an easy-to-use means of creating simple yet nicely-polished photo and video projects, Corel’s Digital Studio 2010 has a lot to offer. If you’d like to check it out, hop on over to www.corel.com for a free trial. sUMMArY Understandably lacking in higher-end features, Corel Digital Studio 2010 contains a nice mix of options for the home photo/video enthusiast. Mark Holder is a video producer and trainer. contents FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14770 in the subject line. 15 full screen print reviews Call Toll Free: 1-800-793-2237 Order online 7 days a week t Worldwide Shipping t All major credit cards accepted t 30 Day Money Back Guarantee* t Sony Sound Forge Pro 10 Audio Editing Software We have thousands of products at deeply discounted prices! over 30 years of quality merchandise and quality service makes abe’s of Maine the right choice for your electronic needs. Sound Off! b y D o u g Dixon W hat family of video editing tools are you most comfortable with? There’s Avid, with its extensive legacy in broadcast and film. Or Adobe, with its ever-more-tightly integrated Creative Suite, from imaging to video to the web. And Apple, with its Final Cut Studio expanding from professional editing to digital cinema. sony Creative software 1617 Sherman Ave. Madison, WI 53704 www.sonycreativesoftware.com strengths •End-to-end audio editing: recording, editing, mastering •Broad support for audio formats, multichannel, music instrument files •Broad set of processing tools and effects for quality audio •Deep presets and options in tool dialogs weaknesses contents •Could better describe purpose and target use of tools •Pitch effects do not include autotune/ pitch correction •Spectrum Analysis window can view but not edit audio •Limited integration with Vegas and ACID (edit source project) full screen print Price: $375 download - $400 packaged 16 And then there’s Sony Creative Software, with a legacy based in audio from the acquisition of Sonic Foundry back in 2003. Instead of a collection of tools combined into an integrated suite, Sony has a small family of professional products that run on Windows, featuring Vegas Pro for video, plus two powerful audio tools that are suites in their own right: Sound Forge Pro for audio editing and mastering, and ACID Pro for music creation. Sony Sound Forge Pro 10, released in September 2009, continues this legacy as a professional digital audio production suite, including audio recording, editing, processing and mastering audio files – plus sound design, audio restoration and CD creation for professional replication. The new version, 10, enhances the interface with a more customizable workspace, combining floating, dockable and tabbed windows, and adds interactive tutorials to help get started with editing tasks. It expands editing with event-based editing to work on blocks in a single window, support for musical instrument files and extensive additional tools and effects. Sony also has integrated disc-at-once CD burning into Sound Forge Pro to directly generate Red Book audio premasters for professional replication. Sound Forge Pro 10, at $375, includes Sony Noise Reduction 2 for restoring damaged clips, Sony CD ArVIDEOMAKER >>> ApRI l 2010 chitect 5.2 for professional Red Book Audio CD mastering and the iZotope Mastering Effects Bundle 2 plug-ins. A trial download is available. Quality and Performance Sound Forge Pro supports full-resolution 24-bit audio to capture the subtle nuances of sound, with 32-bit/64-bit float 192kHz files and recording from 24-bit hardware. Version 10 adds tools from iZotope for higher-quality processing, with MBIT+ Dither for bit-depth conversion (e.g., truncating from 24- to 16-bit), 64-bit SRC for sample rate conversion (e.g., downsampling from 192kHz to CD-quality 44.1kHz) and the Mastering Effects Bundle 2 with six professional audio plug-ins at 64-bit precision, including EQ, reverb, compressor, limiter boost, imager and stereo width and analog exciter. For efficient processing, Sound Forge Pro supports low-latency ASIO drivers for real-time monitoring while recording from sound cards, multitasking to allow editing while background rendering and a RAM cache to reserve memory for media files. Formats Sound Forge Pro opens and saves audio files in many common file formats. It also can extract clips directly from audio CD, including looking up information using Gracenote MusicID. Canon HF-S10 DualFlash Memory HD Camcorder $849.00 Canon XH-A1S 3 CCD HDV Camcorder In Stock! Canon HF-200 Flash Memory Camcorder $549.00 Canon HF-20 DualFlash Memory 1080P Camcorder New Low Price! Canon Vixia HF-S21 1080P 3.5” LCDCamcorder New! Canon Vixia HF-M31Dual Flash Memory/1080P/24P New! Canon Vixia HF-S20 HD Flash Memory Camcorder New! Canon Vixia HF-R10 Dual Flash Memory HD Camcorder New! Canon Vixia HV-40 High Definition Camcorder New Low Price! Sony HDR-FX1000 Mini DV Camcorder In Stock! Sony HDR-XR520V 32GB HiDef Camcorder In Stock! Sony HDR-CX520 High Definition Camcorder In Stock! Sony HDR-CX100 High Definition Camcorder (all clrs) $389.95 Panasonic HDC-TM300 32 GB HD Camcorder New Low Price! Panasonic HDC-HS250 120 GB HD Camcorder In Stock! Panasonic HDC-HS300 120 GB Hard Drive HD Camcorder Call! Panasonic SDR-H80 60 GB Camcorder (all clrs) Call! Sanyo VPC-FH1 10809 Camcorder and 12 MP Digital Stills In Stock! JVC GZ-HM400HD Camcorder New Low Price! JVC GZ-HD320 120 GB HD/SD Hi-Def Camcorder In Stock! JVC GZ-HD300 60GB Hard Disk Camcorder (all clrs) In Stock! JVC GZ-MG670 80 GB Hard Drive Camcorder New Low Price! JVC GZ-MG630 60 GB Hard Drive Camcorder $289.95 Sony HVR-HD1000 Professional Digital HDV Camcorder In Stock! Canon HF-100 Flash Memory Camcorder $749.00 Please visit our website for product information www.abesofmaine.com *Some exclusions apply contents full screen print reviews reviews Sony Sound Forge Pro 10 Sony Sound Forge - Multiband Compressor And it fully supports working with multichannel audio, including editing down to the sample level. For working with Vegas or other video editors, Sound Forge Pro supports editing audio with video, importing common video formats, playing audio in sync with video and exporting with video rendering options. Interface and Editing The Sound Forge Pro interface is deceptively simple, until you dig in to the vast array of toolbars and processing options in the menus. Each new audio file opens in its own data window, with extensive tools to view and analyze the sound, including custom colors, channel meters, sta- tistics and a spectrum analysis window. It also supports viewing and editing metadata associated with audio files. You can do basic cut-and-paste/drag-anddrop editing directly in the window and more with the toolbars, and turn to the menus to apply further processing: Insert synthesized sounds, Process clip formats (depth, EQ, normalize, resample), clean with Tools (noise reduction, click and crackle, restoration) and apply Effects (delay, reverb, pitch). The Plug-In Manager tool organizes non-Sony plug-ins under the FX Favorites menu. As just one example of the depth of the interface, you can now set the default fade types as a global option (wet/ dry mix and fade in/out curves). You typically then apply fades to individual clips using a dialog that offers gradual and exponential presets or manually drawn curves – but each Process and Effect dialog also includes options to also apply various fades and gains. Oh, and Sound Forge Pro also has built-in scripting to automate repetitive tasks, also with support for JScript, VBScript and C# programming. TeCH sPeCs System Requirements Microsoft Windows XP (Service Pack 2 or later), Windows Vista (Service Pack 2 or later), or Windows 7, 1GHz processor, 350MB hard-disk space for program installation, 512MB RAM, Windows-compatible sound card, DVD-ROM drive (for installation from a DVD only), supported CD-recordable drive (for CD burning only), Microsoft DirectX 9.0c or later, Microsoft .NET Framework 2.0 Supported Input File Formats (*Supported Multichannel Format) AA3*, AAC, AIF, ASF, AU, AVI*, CDA, DIG, DLS, DV, FRG, GIF, GIG, IVC, M2A, M2P, M2T, M4A, M4B, MMV, OGG, MOV, MP1, MP3, MP4, MPEG, MPEG-1 and MPEG-2 video, Sony MXF*, PCA, QT, RAW, SD, SFA, SF*, SND, TIF, VOB, VOX, W64*, WAV*, WMA*, WMV Supported Output File Formats (*Supported Multichannel Format) AA3*, AC3*, AIF, ATRAC*, AU, AVI*, DIG, DLS, FRG, GIG, IVC, M1A, M1P, M2A, M2P, M2T, MMV, MOV, MP1, MP2, MP3, MP4, MPA, MPEG, MPEG-1 and MPEG-2 video, Sony MXF*, OGG, PCA, RAW, RM, SF2, VOX, W64*, WAV*, WMA*, WMV contents full screen print 18 VIDEOMAKER >>> ApRI l 2010 Glidecam X-10/HD-4000 Processing and Effects Sony provides a plethora of effects with Sound Forge Pro, with over 40 professional studio effects and processes, which include some 200 predesigned presets for common uses. You can automate effects, including Volume, Delay and Chorus, and use the Plug-In Chainer to link up to 32 DirectX and VST plug-ins into a single processing chain that can be previewed in real time – and saved as a preset. In addition to the new iZotope tools, Sound Forge Pro 10 also adds the Zplane élastique Timestretch Pro plug-in for enhanced time stretch and pitch shifting tailored to the source audio characteristics. There’s also the new Resonant filter plug-in to create dramatic resonant and oscillating fades, sweeps and effects (“wah-wah on steroids”). Suite unto Itself Sony, with its Sonic Foundry heritage, is focusing on creating powerful individual tools for specific types of professional needs, particularly in audio. ACID Pro, then, is for music creation – composing, recording, mixing and arranging audio and MIDI tracks. Sound Forge Pro is for audio editing and mastering, including sound design, audio restoration, processing and effects, and even Red Book CD creation. Sound Forge Pro version 10 is a strong upgrade, with a more customizable interface, enhanced editing tools and more included processing and effects plug-ins for higher-quality audio editing. sUMMArY Audio editing powerhouse – from raw audio to editing to mastering, including sound design, audio restoration, processing and effects, and even Red Book CD creation. Doug Dixon covers digital media at Manifest-Tech.com. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14649 in the subject line. Strap on Some Steady by Brian Peterson L ast issue we test drove a Blackbird handheld stabilizer +[www. videomaker.com/article/14638]. This month, we strap on Glidecam’s X-10 vest and support arm and test fly their re-designed HD-4000 sled made for camcorders that weigh between four to ten pounds. The Glidecam design is similar to that pioneered by Garret Brown, inventor of the Steadicam, but the HD-4000 can be used in either handheld or supported modes. The three basic components – vest, spring-tensioned support arm and sled – are called a “rig” in operator parlance. We'll investigate differences below, with price by far the most important. Many higher-end rigs for heavier camcorders, such as Glidecam’s Gold Series, begin at $26,000. Total cost of our X-10/HD-4000 system was $2,998. Remember this price difference as you read this review. Easy Setup Our Glidecam system came with two manuals: one for the HD-4000 sled and one for the X-10, including support arm and vest. Instructions for the sled assembly are very clear and enough photographs document each step so you might be tempted to not even read them. With any counter-balanced camcorder stabilization device, it is a very good idea to read everything. Unless, of course, you don’t mind dusting dirt off your dented camcorder. Instructions for configuring the X-10 support arm and vest are equally clear, with a good amount of attention given to adjusting and configuring the support arm. This is important, as you can configure the support arm with two or four springs, expanding the maximum weight it can support from nine to 18 pounds. Glidecam recommends operating the rig as close to the maximum weights as possible. After unpacking the parts, laying them out on our test bench and reviewing the instructions, it took us less than four minutes to put everything together. This included attaching the telescoping post to the base platform, adding counterweights, inserting the telescoping post into the central post and threading the camera mounting platform onto the central post. We added one of the several included steel plates to the quick-release plate to give our nine-pound JVC GY-110 camcorder a little more mass and get our complete rig/camcorder close to the recommended weight of 18 pounds. The quick-release plate has no anti-slip material or locking pin, so we had to tighten things down a little more than we would like with the standard ¼-inch VIDEOMAKER >>> APRIL 2010 screw. Finally, we mounted the quickrelease plate to the camera mounting platform on top of the HD-4000. Everything in Balance Every counterweighted camcorder stabilization system requires you to dial in just the right balance for smooth and level shots. The Glidecam manual recommends balancing the sled by supporting it with your hand. While this method would probably work well for lighter systems, it was awkward for our 17.25-pound camcorder/rig combo. So we balanced the rig by putting it on the docking bracket post. The manual does not describe this procedure, but it is an industry-standard balancing method. Before we moved the rig and camcorder from the docking bracket to the post, we made sure all of the adjust- Glidecam industries, inc. 23 Joseph Street Kingston, MA 02364 www.Glidecam.com strenGths •Good design construction and performance for the money contents weaknesses •Support arm a bit bouncy full screen $2,399 - X-10 ; $599 - HD-4000 print 19 reviews reviews Glidecam X-10/HD-4000 Glidecam X-10/HD-4000 TeCH sPeCs TEST ONE: The Hurdle test (Vest anD arm) X-10 support arm: Configurable for either a left- or right-handed operator Dual support arm Boom range: 30" Dual support arm Weight: 5 pounds, 12 ounces in twospring mode, without arm posts Individual Weight Plates: each 12.9 oz. (366 grams) HD-4000 (sleD) Designed For: Compact and full-size cameras weighing from 4 to 10 pounds contents full screen print able components were secure. We then firmly grasped the central post just below the pan gimbal bearing and picked up the rig to do a rough balance test. If the rig seems a little top heavy, we could add more bottom counterweight and/or extend the lower portion of the telescoping post. Be careful when extending the lower post because there is nothing to keep it from falling out. Even though your rig is in the docking bracket, it could cause the upper portion, with your camcorder, to tip over. With our rig roughly in balance, we placed the gimbal handle on the docking bracket post and began our fine adjustment. The fore and aft adjustment screw has a great deal of travel, giving you lots of room for fine tuning. The side-to-side adjustment is a bit coarser, making it more sensitive to small turns of the adjustment screw. With the rig level, we did a drop test to see how quickly the rig will return to level. We held it at about 90 degrees from the resting position and let it swing down. The time it takes the lower portion to swing past its neutral position is the drop time. Shorter drop times make the rig feel more stable but will cause the camcorder to tilt or roll when changing your rate and/or direction of motion. Longer drop times will reduce these tilt or roll problems but will make the rig slower to return to level. We like operating with a two- to three-second drop time. One last balancing test is dynamic balancing. Place two fingers on the 20 TEST TWO: The Stairs test TEST THREE: The Target test X,Y Head Dimensions: 8.750" x 5.00" x 1.00" Base Platform Dimensions: Shortest 13.75" x 4.75"; longest 18.25" x 4.75" Central support Post: 1" diameter, 20" tall in shortest mode, 28" tall in longest mode Weight: 3.315 pounds without counterweight plates. Each custom counterweight plate averages .272 pounds. 12 custom counterweight plates = 3.264 pounds. Tripod Mount Size: 1/4" & 3/8" camera plate mounting holes post just below the gimbal’s pan bearing and give a light spin in the vertical axis to see if there is any wobble, indicating a need to redistribute the relation of the top and bottom masses. Our rig was quite stable, but we had to perform the test by holding it by hand, as the docking bracket post is not far enough away from the stand to allow the rig to spin on its vertical axis. Before taking our rig for a walk, we made a few adjustments to the vest and support arm. For such a low-cost piece of gear, the vest is surprisingly well-constructed. It was easy to adjust the straps for a comfortable and secure fit. Three quick-release plastic connectors get you in and out of the vest from right or left. You can flip the vest’s support arm mounting block to allow for right or left-hand operation. The support arm comes preset at the lowest tension settings, so we used the included Allen wrench to make a guess at a higher tension. For even more control over your rig’s weight, the X-10 comes with an aluminum and a steel arm post. Since we were a little under the maximum 18-pound weight, we secured the steel post to the arm. Once you have the support arm tensioned for your camcorder/rig weight, you don’t need any tools for setup. With the rig balanced and in the docking bracket, we put on the vest, slipped the support arm into the adjustable vest mounting block and hooked into our rig. The docking bracket allows you to easily slip the VIDEOMAKER >>> APRIL 2010 arm post into the gimbal handle. The bracket edges are a bit sharp, so you may want to file these down a little to keep from scratching the gimbal. The last adjustments are controlled by four thumb screws on the vest’s support arm mounting block. These give control over front/back and sideto-side swing of the arm/rig assembly and are normally set up only once. test track We now have the rig flying in a neutral left-hand operating position. We lightly grasped the foam-padded gimbal handle with our right hand and, also with a light touch, placed the tips of our left hand thumb and fingers on the central post just below the gimbal panning bearing. To the test course we go! To test the X-10/HD-4000 in action, we set up three courses used to train professional Steadicam operators that simulate a variety of conditions. The first test, called Hurdle, included a narrow tracking tape stretched tight between two C-stands about 20 feet apart that ran from about four feet off the ground to about six feet. An obstacle in the middle required us to step on and over it. The second course, called Stairs, used the same two C-stands and tape placed alongside a rock stairway. The last, called Target, was simply a large cross made with black gaffer tape on a white garage door at about chest height. Keep in mind that all three courses are as much measures of an operator’s skill as they are of the rig being tested. Our tester is a professional Steadicam operator with more than 15 years of experience who spent several hours practicing with the X-10/HD-4000 before performing these tests. The goal of each test is to keep the center crosshairs of the camcorder’s viewfinder pointed at the tape or target at all times. The Hurdle test measures how quick changes in up/down travel while walking impact the rig’s dynamic stability. After only two trial runs, we were able to consistently keep the camcorder’s crosshairs on the tracking tape on both the up and down motions. The review footage confirmed the apparent lack of any transition up or down. The Stairs test measures how successive changes in terrain and subtle changes in rate alter the rig’s dynamic stability. Since the level of the tracking tape ran from about waist-height to about head-height, we had to induce a small amount of tilt. Again, we did several trial runs before recording a take. The results showed a very smooth beginning but, toward the end of the stair climb, a small amount of vertical bounce was noticeable that quickly stabilized after a couple of oscillations. Walking down the stairs gave us similar results. For our first Target test, we started about 30 feet away from the Target, set our camera’s lens to its widest setting and aligned the Target with the center crosshairs in the viewfinder’s display. This measures how easy it is to keep the camera on target in all three axes. We started walking in a straight line toward the Target, slowly at first, then at a faster pace, then slowing to a stop a few feet away. The footage revealed very good stability in roll and tilt, but again a very slight bounce as we picked up the pace in the middle. With the camcorder still just a few feet away and facing the Target, we turned so that the camcorder was now facing behind us. We then walked about 30 feet away from the Target, then slowed to a stop, walked around the central axis of the gimbal and now returned to the Target with both body and camcorder facing forward. This is a common, though more advanced, technique used to shoot talent walking forward, then changing direction. This tests the amount of friction of the panning bearing in the gimbal. We found that transitioning from one side of the rig to the other required very little countering force from our left hand fingers, a good measure of the gimbal’s pan bearing friction. This is often an area where low-cost stabilizers fall short. But the HD-4000 appears to have not skimped here. Without a monitor mounted on the bottom of the rig, this type of transitioning move is difficult. The X-10/HD-4000 does not come with a monitor, but you can easily add one to the base platform. Of course, what test would be complete without a little jogging and running? This is a good way to not only see how well the rig can smooth extreme movements but also can reveal any noises induced by poorlyfitting components in the vest, arm or VIDEOMAKER >>> APRIL 2010 sled. After working up a good sweat, we were glad not to hear any clanking or squeaking or sense any general instability. All the parts work in silent harmony, a feat not always achieved by much more expensive rigs. While there was some degree of bouncing, it was not unexpected or objectionable. Conclusion The X-10/HD-4000 balances economical design and construction with good performance. The system is easily configured to fit a wide range of camcorders, is easy to adjust and balance, is made of quality materials that fit together well and looks great too. But like any professional stabilization device, it will take a fair amount of practice to get consistently well-framed and stable shots. While the HD-4000 can also be handheld, this can become fatiguing with anything other than lighter camcorders. The X-10/HD-4000 is truly a pro-class stabilization system that is so inexpensive compared to other devices that it is hard to come up with a reason not to have one. sUMMArY The value of X-10/HD-4000 as a professional camcorder stabilization system is hard to beat. Contributing editor Brian Peterson is a commercial video producer and Steadicam operator. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14644 in the subject line. 21 contents full screen print reviews reviews DSLR Accessories DSLR Accessories Support for Video Switronix DSLR-PRO Shoulder Support b y M a r k Holder gently pulling upward until the adhesive releases and pulls loose. switronix DsLr-Pro TeCH sPeCs you’ll find the image gliding up and down with each step. Switronix DSLR-PRO Camera Shoulder Support Range: 3-axis movement for optimal camera positioning to raise the DSLR’s viewfinder to eye level Sizing: Short slide channel so bracket won't show in wide shots Material: Conforming aircraft aluminum shoulder bracket ikan V5600 5.6" TFT LCD Monitor The DSLR-PRO Shoulder Support is one of a line of DSLR stabilizers created by Switronix specifically for the Canon 5D/7D, Nikon and Panasonic Lumix cameras. It assists in achieving steadier shots, and its aluminum construction keeps it lightweight for reduced fatigue. Zacuto Z-Finder A ny equipment that gives the video producer options and allows greater control over his or her shooting will surely be a welcome asset. Newer DSLRs are shooting some incredible video now, and we’ll explore three items that strive to help the DSLR user who shoots video, too. Zacuto 401 West Ontario Chicago, IL 60610 Ste. 250 www.zacuto.com strengths • Encourages correct form for video • Provides a third point of contact for better support • Image bright, clear and large • Greatly improved viewing over stock viewfinder contents full screen print weaknesses • Must be adhered to LCD screen using included adhesive strip $395 22 ikan V5600 Zacuto Z-Finder Optical Viewfinder for DSLR Cameras Zacuto’s new viewfinder for DSLR cameras, the Z-Finder, sports a large, comfortable eyecup that keeps outside light from leaking in and 3x focusable magnification that brings the image up close and personal. It provides much-improved viewing over stock viewfinders, especially if you have only the LCD monitor to compose your shots with. Its 40mm diameter lens allows a great deal more light to come through, which results in a crisper, clearer, brighter image. Pushing the Z-Finder gently against your eye provides a third point of contact and, therefore, greater stability. The optional lanyard and hook provide you a measure of security to guard against the Z-Finder getting dislodged from the camera and hitting the ground. With the lanyard, you can quickly disconnect the viewfinder from the camera without worrying about where to put it, as might be the case when you are switching back and forth between VIDEOMAKER >>> APRIL 2010 video and stills shots. The Z-Finder mounts to the camera via a flat snap-fit frame. The frame attaches to the camera’s LCD screen with a double-sided adhesive strip. Once you have the frame securely attached, you can snap the Z-Finder on and off it with ease. Zacuto claims that subsequent removal of the frame is possible without any negative effects by squeezing the sides together and Zacuto Z-Finder teCh sPeCs Range: 3x magnification Diopter Range: -4.5 to -1.2 Lens: 40mm diameter for excellent light throughput Body: Sturdy, lightweight, 6 oz. Outer Dimensions of Snap-Fit Frame: 71mm wide x 56mm tall Inner Dimensions of Snap-Fit Frame: 62mm wide x 46.7mm tall Works with: Canon 5D and 7D, Nikon D90, Panasonic GH1 and many others NEWER DSLRs ARE SHOOTING SOME INCREDIBLE VIDEO NOW. Its design provides adjustments along three axes to aid in getting the camera in just the right position. The arched shoulder support features ample padding for comfort and has a locking bracket on its front to allow for vertical adjustment of the cam- switronix, inc. 265 Sunrise Highway, Suite 346 Rockville Centre, NY 11570 www.switronix.com sTrengTHs •Easy to set up and use •Lightweight •Comfortable •Enhances fluidity of shots weaknesses •Getting the mounting plate to slide into the base and back out again proved very difficult. It appeared to jam partway in. Hopefully this problem was unique to our test unit only. $279 era. It also sports a raised mounting platform to bring the viewfinder up to eye level. Mounted atop the twin vertical adjustment rods is a bracket and locking knob combination that allows the extension piece, which holds the camera, to be adjusted to the left or right. Loosening the locking knob also enables the shooter to get some great, smooth, side-to-side pans. The extension is a slotted piece of aluminum through which the handle extends. Turning the handle clockwise loosens it from the mounting platform and allows the entire assembly to move forward or backward in the slot, placing the camera closer to or further away from the operator’s body. Turning the handle counterclockwise tightens it again and locks the mounting platform in place. You mount the camera to the DSLR-PRO stabilizer by attaching the mounting plate to the underside of the camera via the standard mounting screw. The plate slides into the platform base and is locked down with the lock knob located on the side. Essentially, the process is the same as that you would use for mounting a camera to a tripod. Once mounted and adjusted, the stabilizer is lightweight and comfortable and makes for some very smooth, fluid shooting. When walking, be careful to adjust your stride, or VIDEOMAKER >>> APRIL 2010 The V5600 monitor receives power using either the AC adaptor or, for those on the move, a camcorder battery attached to the monitor via the battery adaptor. The hardware required for mounting the adaptor to the back of the monitor is included. Mounting the battery and powering up the unit take only a minute or two. The monitor mounts directly to the camera, using the included shoe mount, or to a light stand, tripod support or any other such device, us- THE V5600DELIVERSACRISp, CLEAR pICTuREWITHARESOLuTIONOf 1024X600. ing a shoe mount adaptor or industry-standard 1/4-20 thread mount. Turned on and connected to the camera, the V5600 delivers a crisp, clear picture with a resolution of 1024x600. Buttons along the bottom front provide power, adjustments ikan Corporation 3903 Stoney Brook Drive Houston ,TX 77063 www.ikancorp.com sTrengTHs •Large, crisp, clear picture • Lightweight • Very portable weaknesses contents •None significant full screen $699; Deluxe Kit $849 print 23 ReviewS DVD ON DSLR Accessories ikan v5600 TeCH SPeCS LCD: 5.6" TFT Resolution: 1024x600 LCD Brightness: 165cd/m2 Contrast Ratio: 200:1 Viewing Angles: 80/80(R/L), 55/55(U/L) Operating Volts: DC 12-24V Dimension: 5.75"x4.625"x0.82" Inputs: HDMI, component and composite Weight: 0.7 lbs. 24 each $ 95 THE VIDEOMAKER INSTRUCTIONAL SERIES ADVANCED SHOOTING ADVANCED EDITING Shot Sheets, Logs and Slates, Lenses and Filters, Exposure and Shutter, Camera, Handheld Techniques, Composition. (30 minutes) DVD $24.95 Advanced Editing Tools, The Art of Editing, Video Filters and Color Effects, Compositing Titles and Graphics, Encoding and Output. (30 minutes) DVD $24.95 Refine Your Shooting Skills and Tell a Better Story! full screen print Set of 8 Instructional DVDs $139.95 Save 30%! (reg. price $199.60) BASIC SHOOTING LIGHT IT RIGHT SOUND SUCCESS Camcorder Features and Functions, Button Basics, Lighting Basics, Sound Advice, The Art of Composition, Smooth Moves and Steady Shots. (30 minutes) DVD $24.95 Light Theory, Tools and Terms of Lighting, Studio Lighting, Indoor Daytime Lighting, Outdoor Daytime Lighting, Outdoor Nighttime Lighting. (30 minutes) DVD $24.95 Mike Types, Wired or Wireless, Overcoming Indoor Audio Problems, Overcoming Outdoor Audio Problems, Editing Audio, Audio Sweetening. (30 minutes) DVD $24.95 INTRODUCTION TO DIGITAL VIDEO EDITING INTRODUCTION TO DVD AUTHORING AND DESIGN The Essential Guide to Basic Camcorder Techniques contents The Essential Guide to Advanced Computer Video Editing Techniques The Guide to Getting Started With Computer Video Editing Tools, Hooking Up, Editing Audio, Editing Sequences, Transitions and Filter Effects and Titles and Graphics. (30 minutes) DVD $24.95 The Essential Guide to Lighting for Video There's more to making DVDs than transferring video to a disc. Video producers need to approach DVD authoring completely differently than videos created for distribution on VHS. (30 minutes) DVD $24.95 The Essential Guide to Audio for Video INTRODUCTION TO VIDEO EDITING The Art of Titles & Graphics Introduction to Titles and Graphics, Splash Screens and Opening Titles, Segment IDs, Lower Thirds and Bugs, Diagrams and Info Graphics, and Credit Rolls and Crawls. (30 minutes) DVD $24.95 Order Online www.videomaker.com/isdvd or call Toll Free 800-284-3226 Call or go Online for Shipping Rates for brightness, hue, etc., volume up/down, the ability to switch aspect ratios, input selection (composite, SD/HD component, HDMI) and onscreen safe area guides. Headphone out and AV connections are found along the side. The ikan V5600-DK (Deluxe Kit) provides you with everything you will need to get up and running right away: the 5.6" HD LCD monitor; a compartmentalized soft carrying case with shoulder strap; an AC adaptor; a Sony-compatible battery pack and charger; an adaptor which allows the use of select DV batteries; a camera shoe mount; and AV and component breakout cables. SUMMARY These three products promise and deliver greater control over the image acquisition process and will be a welcome addition to the serious DSLR video producer’s toolkit. Mark Holder is a video producer and trainer. contents FEEDBACk full screen For comments on this article, email us at editor@videomaker.com, use article #14645 in the subject line. print VIDEOMAKER >>> APRIL 2010 25 Digital Downloads Learn exactly what you need to know! Download it today! Video On Demand - Starting at $3.49! Download a popular Video On Demand right to your computer in minutes! Chromakey Lighting Basics Three Point Lighting From start to completion, here are the basics of achieving a Green Screen effect. Learn the foundation of all good video lighting techniques. Night Lighting Explore the basics of lighting for a nighttime shoot. Start a Wedding Video Business Learn the keys to wedding video business success. Making Video Look Like Film BY EDWARD B. DRISCOLL, JR. Give your video a film look using 24p. eDocs - Starting at $2.49! Over 75 information-packed eDocs to help you learn and master every aspect of video production! Download straight to your own computer! The Keys to Chromakey Multicam Shooting Here are some of the elements involved in producing a successful key. Shooting your subject with more than one camera can be a time-saving and very creative endeavor. Guide to Making Wedding Video Learn the essentials to creating a memorable wedding video. Making Music Videos Make your music video a success with these basic production and distribution tips. Making Money with Video Learn how you can make money with your video creation. eBooks - Starting at $9.95! Download an eBook today! You'll be able to save the file and print it off at your convenience! contents full screen print Videomaker's Video Composition eBook Videomaker's Vidcast eBook The Videomaker Complete Book of Forms Videomaker reveals some of the secret tricks of basic composition used by the Masters. From planning and production to editing and distribution, this eBook includes tons of information and how-tos for vidcasting. Videomaker's Complete Book of Forms contains 91 essential forms to help you plan, get organized, stay legal, and ask the right questions. Video Glossary of Terms Documentary Film Making This extensive Glossary of Terms, provides definitions for hundreds of commonly and not so commonly used terms in the field of videography. This in-depth analysis of documentary film making uses many "real world" examples to illustrate the process. DOWNLOAD AT www.videomaker.com/edocs Today’s non-linear editing programs and motion graphics compositing programs are remarkably powerful tools in and of themselves. But, as you’ll see from this story, there are numerous companies selling plug-ins to make them even more potent. contents full screen print VIDEOMAKER >>> APRIL 2010 27 T his article can only hope to scratch the surface of what’s out there, but let’s run down some of the more intriguing plug-in manufacturers whose products can add dramatic punch and additional features to those programs, ranging from automating basic tasks, all the way to cinema-level effects. Look Sharp Noise Industries specializes in Apple-only plug-ins for Final Cut Pro, Motion, Final Cut Express and Adobe After Effects. Their proprietary FXFactory plug-in management software will even allow for some simple but cool free plugins to be downloaded, in addition to their more Noise Industries complex applets. These include a variety of www.noiseindustries.com professional-looking titling and compositing effects, including Hud. This plug-in will generate overlays that produce the sort of electronic binocular effect seen in the original 1977 Star Wars – only much slickerlooking. And then there’s Star Titler 1.0.3, a free plug-in which, as its name implies, quickly recreates that film’s iconic opening title crawl. Boris FX plug-ins include its popular Red, Blue and FX lines. Red and Blue each provide an assortment of compositing and motion graphics solutions, and FX generates, well, special effects. The latter plug-in includes a wide assortment of filters, painting software, plus multiple types of motion stabilizing and tracking software for motion graphics compositing. Additionally, Boris’s product lineup includes utility applications such as XML Transfer, designed to seamlessly transfer Apple Final Cut Pro sequences to Adobe After Effects, offering Final Cut and After Effects users the same sort of back-and-forth fluidity that Premiere and AE users enjoy. The products of GenArts, Inc. have been used to create the special effects seen in Iron Man, The Chronicles of Narnia, The Lord of the Rings trilogy and the CSI TV series. For the computer-based editors and compositors, GenArts creates highend plug-ins for platforms including Autodesk, Avid, After Effects and Final Cut Pro, as well as the OFX standard. Tiffen has been producing filters for film and video camera lenses for over 70 years. More recently, they’ve added a line of digital filters called DFX V2. They’re available in a standalone format, as well as in the form of plug-ins for FinalCut Pro, After Effects, Avid and Photoshop. Plug-ins include masking, lighting effects, star filters, high contrast and other effects originally created for the still photography world, but available for the aforementioned NLEs and motion compositing programs. Red Giant Software includes a variety of plug-ins, including their well-known Knoll Light Factory (a one-stop shop for simulated lens flares, photon torpedoes and other lighting effects) and Magic Bullet applets. For harried editors who simply want to quickly engineer a unique look to add atmosphere to a shot or scene, thumbing through its numerous presets of the latter product to dial up a look is often all it takes. For those who wish to fine-tune those images, the presets allow a seemingly endless variety of additional tweaking. Magic Bullet is also the perfect tonic for those wishing to add a film-style look to a project or to jazz up a video or digital animation with unique tints and colorings. Get Funky Of course, some plugins are designed to rough-up your video, rather than sweeten it. For example, the motto of the plug-in called Damage, by Digieffects, is “you have great footage – we can fix that,” and its titular destruction can create looks ranging anywhere from a beat-up old VHS tape to the scan lines of an ancient CRT to artifacts that replicate those of poor satellite or terrestrial antenna reception. If you’re shooting sci-fi or drama and want to recreate the look of a signal coming in from halfway across the galaxy, or merely halfway across planet earth, this plug-in will quickly do the trick. Digieffects www.digieffects.com Compositing and Effects Software Manufacturer Listing 2d3 Ltd. www.2d3.com CoreMelt www.coremelt.com GenArts, Inc. www.genarts.com Red Giant www.redgiantsoftware.com Adobe www.adobe.com Digital Anarchy www.digitalanarchy.com Grass Valley ProDAD Adorage www.grassvalley.com/desktop www.prodad.de Advantage Video Systems Digieffects www.advantagevideosystems.com www.digieffects.com Izotope, Inc. www.izotope.com Strata 3D www.strata.com Alien Skin www.alienskin.com Digital Film Tools www.digitalfilmtools.com Motion DSP, Inc. www.motiondsp.com Tiffen www.tiffen.com Audio Damage, Inc. www.audiodamage.com Digital Juice, Inc. www.digitaljuice.com NewBlueFX www.newbluefx.com Tool Farm, Inc. www.toolfarm.com Boris FX www.borisfx.com EI Technology Group Noise Industries www.eitechnologygroup.com www.noiseindustries.com Ulead www.ulead.com Cayman Graphics www.caymangraphics.com EyeOn www.eyeonline.com Pinnacle www.pinnaclesys.com Ultimatte Corporation www.ultimatte.com contents Cineform www.cineform.com The Foundry www.d2software.com Pixelan www.pixelan.com full screen Corel Corporation www.corel.com GeeThree www.geethree.com Tiffen www.tiffen.com print 28 VIDEOMAKER >>> APRIL 2010 contents full screen Compiled by the Editorial Staff print VIDEOMAKER >>> APRIL 2010 29 NEW 5Megapixels Florida-based Digital Juice, Inc. is probably best known for its “Jumpbacks” – seamlessly loopable digital background clips in which text, still photos and video can be overlaid. But they are beginning to explore the plug-in market as well. Their proprietary Juicer software quickly renders Digital Juice’s Jumpbacks, stock footage and fonts to a variety of formats for editing and compositing. In 2009, they began offering several low-cost aftermarket downloadable plug-ins, primarily for their font software, to create additional textures, colors, positioning effects for their already stylish and growing collection of fonts designed for video titling. Transition Magician In existence since 2001, NewBlue Inc. also makes plug-ins designed to alter the look of whole scenes, including their Video Essentials line of bundled plug-ins. But perhaps their most intriguing products are their transition effects. Most non-linear editing programs include basic dissolves, irises, wipes, etc. And since most edits shouldn’t call attention to themselves anyhow, it’s possible to get through many productions with those alone. But there are times when a transition calls for a major flourish, whether it’s to create a distinct modulation between segments, or simply to wake-up an audience two-thirds into a production with a wow moment. Sound Is Half the Picture NewBlueFX www.newbluefx.com contents full screen print 30 Available in Violet, Blue, White and Pink #SOMHSPM5* Textural Treatments Audio Damage audiodamage.com bloggie Flash memory HD Camcorder As George Lucas likes to say, sound is half the picture. So when shopping for plug-ins, don’t scrimp on the audio half of the equation. As a result of a quarter century or so of the music industry’s exploration of the computer world, there’s a whole arsenal of audio plug-ins available, many of which have plenty of use when crafting a video. The Ozone 4 plug-in by Izotope, Inc. provides a variety of audio mastering effects and is bundled with loads of handy presets that can add the final sheen to a mix. Its built-in exciter and its presets for voiceover work can help to dramatically push a voiceover narration to the top of an audio mix, without cranking the volume of the narrator into distortion. Also useful for dialogue work, Izotope’s RX plug-in can make quick work of removing camera noise, air conditioner hum, ground loops and other on-location vagaries, by digitally mapping the roomtone of a scene without dialogue. Plus it can quickly remove popped-Ps and other plosives in dialogue. A much more extreme effect is the Discord2 plug-in from Audio Damage, Inc. It’s an extremely affordable recreation of Eventide’s breakthrough (and budget-breaking) rack-mounted Harmonizer from the mid-1970s. If you want your star to sound like a high-pitched alien, or as deep as a certain black-helmeted basso pro- SOME AUDIO PLUG-INS WILL BE DIRECTLY COMPATIBLE WITH YOUR EDITING SYSTEM; OTHERS WON’T. fundo-voiced Sith Lord, this plug-in will do the trick. And it can create dramatic echo…echo… echo effects that descend or ascend in time as they fade away, perfect for adding the same sort of audio punch to a word during a transition to a new scene, as some of the aforementioned visual transition plug-ins. Some audio plug-ins will be directly compatible with your editing system. Others may require a separate digital audio workstation, or DAW for short. But then, there are numerous times when a DAW is necessary to sweeten or repair a soundtrack anyhow. NEW M2120M MinoHD Camcorder t4MFFLEFTJHOOE(FOFSBUJPO t(#JOUFSOBMGMBTINFNPSZ NJOVUFTPG)%SFDPSEJOH tYQ)% t.FHBQJYFMw$.04TFOTPS t.VMUJTUFQYEJHJUBM[PPN NNG tw-$%TDSFFO t4UFSFPNJDSPQIPOF t)%.*DPOOFDUJPO t#VJMU*O'MJQ4IBSFTPGUXBSF GMJQPVU64#BSN #FLM2120M NEW 5Megapixels #KOZI8* Zi8 Available in Blue, Aqua and Raspberry NEW 8Megapixels #SAVPCCS1 NEW 4Megapixels #CAHFM30 NEW 12Megapixels #SOHDRCX550V NEW 8Megapixels #CAHFS20 Flash Memory Camcorder t4%4%)$GMBTINFNPSZSFDPSEJOH tYBEWBODFEYPQUJDBM[PPN t7JEFP4OBQTIPU%VBM4IPU twXJEFTDSFFO-$% t%ZOBNJDJNBHFTUBCJMJ[BUJPO t%*(*$%7**JNBHFQSPDFTTPS t1SFSFDPSEiQSFSPMMwNPEF t#VJMU*O7JEFP-JHIU t8JEFTDSFFO)3DBQUVSF t-FWFMBOE(SJE.BSLFST t"VUPNBUJDMFOTDPWFS #CAFS300* 8Megapixels #JVGZHD320B 10 Megapixels VIXIA HF R10 Ed Driscoll is a freelance journalist covering home theater and the media. FEEDBACK For comments on this article, email us at editor@videomaker.com, use article #14768 in the subject line. Dual Flash Memory HD Camcorder t3FDPSEUP(#JOUFSOBMGMBTI NFNPSZPS4%NFNPSZDBSET tw.Q$.04TFOTPSXJUI 3(#QSJNBSZDPMPSGJMUFS tw-$%%JTQMBZt$BOPOY)% PQUJDBM[PPNMFOTt%ZOBNJD JNBHFTUBCJMJ[BUJPOt%*(*$%7*** JNBHFQSPDFTTPStQBOEQ GSBNFNPEFTt1SF3FDPSEiTFD QSFSPMMwNPEFt.JDSPQIPOFBOE IFBEQIPOFUFSNJOBMT HDR-CX550V Flash Memory HD Camcorder tY)% t3FDPSEY)%SFTPMVUJPO WJEFPPOUPJOUFSOBM(#GMBTI NFNPSZPS.FNPSZ4UJDL 130%VPNFEJB tw.1i&YNPS3w $.04TFOTPS tYPQUJDBM[PPN4POZ(MFOT tw9USB'JOF5SV#MBDL-$% t0QUJDBMJNBHFTUBCJMJ[BUJPO t(14SFDFJWFSBOENBQJOEFY t.JDBOE)FBEQIPOFJOQVUT VIXIA HF S20 Dual Flash Memory HD Camcorder t(#JOUFSOBMGMBTINFNPSZ t%VBM4%4%)$NFNPSZDBSETMPU tw.1$.04TFOTPS tw)JHI3FTPMVUJPO 5PVDI1BOFM-$% t0QUJDBMJNBHFTUBCJMJ[FS t.1TUJMMJNBHFDBQUVSF t/BUJWFQQ$JOFNB QGSBNFNPEFT t.JDSPQIPOFBOEIFBEQIPOF UFSNJOBMT Everio Hybrid HD Hard Drive Camcorder t'VMM)%Y13FDPSEJOH t*OUFSOBM(#)%% tNJDSP4%DBSETMPU t,0/*$".*/0-5")%YPQUJDBM [PPNMFOT tw.Q$.04TFOTPS tw-$%TDSFFO t.CQT"7$)%SFDPSEJOH t#VJMUJOBVUP*MMVNJMJHIU t0OFUPVDIFYQPSUUPJ5VOFTPS VQMPBEUP:PV5VCF The Professional’s Source™ B&H Phones 800-947-9925 212-444-5025 To Inquire About Your Order Call: 800-221-5743 212-239-7765 B&H Store 420 Ninth Ave. Corner of 34th Street New York, N.Y. 10001 B&H Online bhphotovideo.com HDC-HS250K #PAHDCHS250K NEW VIXIA HF M30 Dual Flash Memory HD Camcorder t(#JOUFSOBMGMBTINFNPSZ 4%.FNPSZ$BSE4MPU t.FHBQJYFMw$.04TFOTPS tw5PVDI1BOFM-$% t$BOPOY)%WJEFPMFOTY "EWBODFE t0QUJDBMJNBHFTUBCJMJ[BUJPO tQBOEQGSBNFNPEFT t%*(*$%7***JNBHFQSPDFTTPS t.JDSPQIPOFBOEIFBEQIPOF UFSNJOBMT GZ-HD320 FS300 Available in Blue, Red and Silver #CAHFR10* NEW VPC-CS1 Available in Black, Red and Silver VIDEOMAKER >>> APRIL 2010 Pocket Video HD Camera tQQIJHIEFGJOJUJPO SFTPMVUJPOSFDPSEJOH t.#JOUFSOBMNFNPSZ t4%4%)$DBSETMPUVQ5P(# tw.1$.04TFOTPS tYEJHJUBMNNG [PPNMFOT tw-$% t*NBHFTUBCJMJ[BUJPO t.JDSPQIPOFJOQVU t4XJOHPVU64# Xacti HD Flash Memory Camcorder t)JHIEFGJOJUJPOY SFDPSEJOH.1&("7$) t4%)$4%9$NFNPSZDBSE DPNQBUJCMFtYBEWBODFE[PPN MFOTNNXJEF twXJEF-$% t%JHJUBMJNBHFTUBCJMJ[BUJPO t"QQMFJ'SBNFDPNQBUJCJMJUZ t&ZF'JDBSEDPNQBUJCJMJUZ t'BDF$IBTFSIJHITQFFE 4FRVFOUJBM4IPUNPEFT Plug In…and Play Around The right plug-ins can dramatically expand the look (or sound) of a video project. As you go through the accompanying buyer’s matrix, keep in mind the projects that make up the bulk of your current production work, and consider the ways you’d like to tweak their style, as well as your budget. Chances are, you’ll quickly find a plug-in that will help you do just that. t'MFYJCJMJUZSFDPSEJOHQMBZCBDL PSY t3FDPSEJOHPOUP.FNPSZ4UJDL 1SP%VPNFEJB tw.1$.04TFOTPS tw-$%TDSFFO tYEJHJUBM[PPN t2VJDLPOSPUBUJOH¡ MFOTTZTUFN t4UFBEZ4IPUJNBHFTUBCJMJ[BUJPO t'BDFEFUFDUJPO t#VJMU*O1JDUVSF.PUJPO 3-CMOS HD hard Drive Camcorder t3FDPSEY)%SFTPMVUJPO WJEFPPOUP(#)%%PS4% 4%)$NFEJB t5ISFFw$.04TFOTPS t-FJDB%JDPNBSYPQUJDBM [PPNMFOT t"EWBODFE0QUJDBMJNBHF TUBCJMJ[BUJPO twXJEF-$% tDIBOOFMTVSSPVOESFDPSEJOH HDR-XR550V 12Megapixels #SOHDRXR550V AVCHD Hard Drive Camcorder t3FDPSEY)%SFTPMVUJPO WJEFPPOUPJOUFSOBM(#IBSE ESJWF.FNPSZ4UJDLPS 4%4%)$NFEJB tw&YNPS3$.04TFOTPS t.1TUJMMJNBHFT twXJEF9USB'JOF-$% t'BDF%FUFDUJPOBOE4NJMF4IVUUFS t(14SFDFJWFSCVJMUJO t0QUJDBMJNBHFTUBCJMJ[BUJPO t.JDSPQIPOFBOEIFBEQIPOF UFSNJOBMT t4VQQPSUCFGPSF BOEBGUFSTBMF t0OMJOFMJWFTVQQPSU t.BTTJWFPOMJOFQSFTFODF t)VHFJOWFOUPSZBWBJMBCMF GPSXPSMEXJEFTIJQQJOH t&EVDBUFZPVSTFMG JOPVSQSPEVDU SFTPVSDFDFOUFS We will be closed: March 29 thru April 6, 2010 Page 1 contents full screen print HDR-HC9 The Professional’s Source™ 6MegaPixels #SOHDRHC9 800-947-9925 212-444-5025 212-239-7770 To Inquire About Your Order Call: 3MegaPixels #CAHV40 800-221-5743 212-239-7765 866-521-7375 212-502-9426 B&H Store HDV Camcorder tw.Q)%$.04TFOTPS XJUI3(#QSJNBSZDPMPSGJMUFS t'SBNFSBUFTJOBUJWFQSFDPSET BUQ QDJOFNBBOEQBUJ t%*(*$%7**JNBHFQSPDFTTPS t$BOPO)%YPQUJDBMWJEFPMFOT t*OTUBOU"VGP'PDVTXFYUTFOTPS t4VQFS3BOHFPQUJDBMTUBCJMJ[BUJPO twXJEFTDSFFO-$%TDSFFO t&YUFSOBMNJDJOQVU t4NPPUIWBSJBCMF[PPNXJUI GJYFE[PPNTQFFET #PAAGHMC40 Overnight service available #JVGYHM100U Used equipment bought, sold, and traded full screen Equipment leasing available print © 2010 B&H Foto & Electronics Corp. Page 2 #SOHVRS270U AG-HPX300 AG-HPX170 3-CMOS Pro Solid State Camcorder t3FDPSEIJHIEFGJOJUJPOJ Y )%SFTPMVUJPOWJEFP PO4%4%)$NFEJBDBSET t4PMJETUBUFSFDPSEJOHXJUIGBTUTDFOF TFBSDIFTJOUIVNCOBJMWJFX twQSPHSFTTJWFTDBO$$%TFOTPST t"EWBODFE0QUJDBM*NBHF4UBCJMJ[FS t-FJDB%JDPNBSY[PPNMFOT tNFHBQJYFMTUJMMJNBHFSFDPSEJOH t%VBM9-3JOQVUTTUFSFPNJOJNJDJO t)%.*EJHJUBM)%PVUQVU64# t5XP1DBSETMPUTSFDPSEJOH)% JBOEQ BOE4%J G tWBSJBCMFGSBNFSBUFT twQSPHSFTTJWF$$%TFOTPST t)%4%4%*PVUQVU t9-FJDB%JDPNBSXJEF[PPNMFOT t&OIBODFENFUBEBUBNBOBHFNFOU t0QUJDBM*NBHF4UBCJMJ[BUJPO t%VBM9-3JOQVUTtw-$%NPOJUPS t*ODBNFSB8BWFGPSNNPOJUPS 7FDUPSTDPQFBOEUXP'PDVTBTTJTU tCJUOBUJWFBOEQ )%SFTPMVUJPOJOWBSJBCMFGSBNF SBUFTt"7$*OUSBBOEDPEFDT t5XP1DBSETMPUTIPUTXBQQJOH MPPQQSFSFDPSE tBEWBODFEw.Q$.04 TFOTPSTt)%4%*PVUQVU tCJUEJHJUBMTJHOBMQSPDFTTPS tY'VKJOPO)%MFOT t#VJMUJOTDBOSFWFSTFNPEF t8BWFGPSNBOEWFDUPSTDPQFEJTQMBZ #PAAGHPX170 AG-HMC150 twQSPHSFTTJWF$$%TFOTPST t3FDPSET)%JQQ QQQGPSNBUT t4PMJE4UBUF)%SFDPSEJOHPOUP4% 4%)$NFEJB.QCTY 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4ZTUFNXJUI&YNPS5FDIOPMPHZ t%PXO$POWFSUT)%UP4% tw 8JEF-$%.POJUPS t)%.*PVUQVUBOEJ-*/,*OUFSGBDF B&H Online bhphotovideo.com GY-HM700U HVR-Z7U 3-CMOS HDV Camcorder tw.1 $MFBS7JE$.04 TFOTPSTXJUI&YNPS5FDIOPMPHZ t4POZ(TFSJFTFYUSBMPXEJTQFSTJPO YPQUJDBM[PPNMFOT t&YUFOEFEEZOBNJDSBOHF tQBOEQQSPHSFTTJWF TDBOSFDPSEJOH tw9USB'JOF-$%XJUILQJYFMT t3FDPSET)%7)% BOE.JOJ%74% t)%GPDVTBTTJTUGFBUVSF t$JOFNB5POF$PMPS #SOHDRFX1000 #PAAGHPX300 The Professional’s Source™ 3-CMOS XDCAM EX Camcorder #SOPMWEX1R t4Y4.FNPSZ$BSE3FDPSEJOH X.CQT%BUB5SBOTGFS t%7$BN3FDPSEJOH t$BDIF3FDPSEJOH t*NBHFJOWFSTJPOGVODUJPO tJODI&YNPS$.044FOTPST t1JQ4XJUDIBCMF t.VMUJQMFGSBNFSFDPSEJOH tY)%'VKJOPO-FOT tw-$%NPOJUPS t'VMM.BOVBM'PDVT3JOH t0WFSBOE6OEFSDSBOLJOH t4VQQPSUCFGPSF BOEBGUFSTBMF t0OMJOFMJWFTVQQPSU t.BTTJWFPOMJOFQSFTFODF t)VHFJOWFOUPSZBWBJMBCMF GPSXPSMEXJEFTIJQQJOH t&EVDBUFZPVSTFMG JOPVSQSPEVDU SFTPVSDFDFOUFS We will be closed: March 29 thru April 6, 2010 ® Most orders shipped within 24 hours contents #PAAGHMC70U HVR-S270U 3-CMOS 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1"-BOE/54$TUBOEBSET t)JSFTw-$%NPOJUPS t1JOSFNPUFTUVEJPDPOOFDUJWJUZ Lens and power optional #SOPMW350L XDCAM EX Shoulder-mount Camcorder tw&YNPS'VMM)% $.04TFOTPST t4Y4NFNPSZDBSE)%SFDPSEJOH tQ/BUJWF3FDPSEJOH t'PVSDIBOOFMBVEJP t5JNFDPEFJOPVUHFOMPDLJO )%4%4%*BOE)%.*PVU tw-$%NPOJUPS t%7$".SFDPSEJOH PQUJPO$#,%7 t*OUFSWBM'SBNFSFDPSEJOH Quick Dials: Consumer Video 813 Pro Video ........... 821 Pro Audio ............. 91 Video Editing ..... 831 Minimum Shipping USA (Except AK & HI) $7.95, up to 1 lb. Add 95¢ for each additional lb. For insurance add 50¢ per $100. contents Prices are subject to change. full screen Not responsible for typographical errors print Page 3 CES Wrap Exiting the Las Vegas airport to grab a shuttle for the LV Convention Center, I often feel exactly like Jed Clampett of the Beverly Hillbillies did when his shotgun uncovered that “bubbling crude.” BY MARSHAL ROSENTHAL Welcome to CES: Where Comfortable Shoes Meet Video High-Tech contents full screen print 34 VIDEOMAKER >>> APRIL 2010 VIDEOMAKER >>> APRIL 2010 I’ve been attending the Consumer Electronics Show (CES) for enough years - and by that I mean even before the days of the Chicago Summer version - to know that the real highlights are never found on the massive floors of the convention halls. It’s not often the “big boys” who make my day (apologies to Clint Eastwood), but the small entrepreneurs and companies found in the hotels, smaller meeting rooms and side alleys. Knowing better than to go to the hotel room, my first stop is the press room in the South Hall. Passing the Blogger Lounge, I file it away in my head as a good place to catch my breath later - noticing that Videomaker’s own Tom Skowronski is chatting up Jon Landau, producer of Avatar (see videomaker.com/r/394). To assume they’re talking about 3D seems safe, but I’m stoked on seeing some 3D tech working myself. A quick glance around the press room, a cup of coffee and a bagel wrapped in a napkin, and I’m off. Let’s hit the concrete and see what we can find. contents full screen print 35 CES Wrap Panasonic 3D Full HD Camera Recorder Which is to say Panasonic HAS to be the first stop – a full HD 3D camcorder using two lenses that you can actually carry around (albeit on a tripod if you don’t want the shakes). The 3D Full HD Camcorder is part of Panasonic’s 3D Full HD production system, adding to the twin-lens P2 Pro camcorder a 3D-compatible high-definition plasma. While still in development, the P2’s non-mechanical solid-state construction allows for a compact shape making 3D shooting less restrictive (as has been the case). What gets shot might not be the next Avatar, but it will most likely be out sooner. Casio Exilim EX-FH100 Digital Camera Digital cameras have gotten so feature-laden that they’ve forgotten what they were designed for in the first place: taking pictures as well as shooting video. That’s where the high-speed “shutter” of this Casio takes over. Shooting a few frames per second can slow things a bit, but capturing up to one-thousand (1000fps!) frames per second means slow-motion video that’s crazy delicious. Talk about seeing things “frozen” in time. CES Wrap Sony FX Handycams Sony’s Handycams have never been accused of being puny when it comes to the technology powering the video, but don’t you think it’s time they joined the ranks of all of those SD memory card users? The new FX series builds in support for SD cards, which means you can leave the pain of trying to find a large enough memory stick to the forgotten past. Of course, there are advanced features and quality optics working, but now memory needs can be easily fulfilled. Fuji W1 Digital Camera With 3D being all the craze now, hats off to Fuji for jumping into the arena head first. The W1 shoots 3D still images, as you’d expect from a 3D camera, but video can also be captured in the third dimension. As you’d expect, you need a good-sized memory card, since 3D video is pretty large and the camera shuts down after about 20 minutes are shot. Of course, the fact that the video is in a new format means everybody has to scramble to support it – otherwise what’s the use? Viewing the 3D doesn’t change the need for a 3Dequipped TV and glasses, unless you go with Fuji’s half-a-grand Digital Picture/ Movie player that uses glass tech to let you watch a 3D effect without sticking anything on your face. Lowel Blender Never think that lighting a location is boring – rarely will you get the chance to just hit everything with a burst of daylight and call it quits. So filling in a scene, where, for example, you have a lobby where daylight mixes with tungsten lamps, can be dicey. Or rather, blended, because Lowel’s new lamp head uses twin arrays of color-accurate LEDs to let you twist a knob for mixing daylight and tungsten color temperatures together for the most natural look. The Blender includes diffusers, fits on a camera top or compact light stand and will run off video camera batteries if you don’t want to trail a power cord from an AC source. Magix Video Pro X2 Building off already highly-developed video technology and a flexible user interface, the popular video editing and post production software pumps itself up even further with version 2.0. What’s new? Handling Window 7 like a champ, for one. Improved multi-processor and audio effects support too. Shure X2u XLR-to-USB Signal Adaptor Good sound rarely comes from the camcorder’s built-in mic, which begs the question: who makes an adaptor so I can use that high-falutin’ mic with my laptop on location? Shure does, for one, and the X2u XLR-to-USB Signal Adaptor does its digital best controlling the input signal strength. It lets you know what’s going on with its built-in headphone monitoring and easy controls for balancing mic and playback audio. Better than CD quality and plug-and-play USB capabilities on Mac and PCs means you’re not stuck with junky sound. Kodak PlaySport Zx3 Pocket Camcorder Thinking of Kodak as a winner when it comes to casual “handycams” stretches the bounds of imagination – well, it did, but not now. A reasonably-priced camcorder that shoots HD video (1080i or 720p) is a good start, as is adding electronic image stabilization to avoid the jitters that few seem to avoid when shooting with one hand. Face-tracking tech makes sense too (especially as you can shoot 5-megapixel stills in widescreen), but the best part is that it’s waterproof! Yep, drop it in the sink or dive into the pool and, as long as you don’t hit the 10-foot (3-meter) mark, you and the PlaySport will be fine. Creative Vado HD Pocket Cam That eyes will turn when you pull out the Vado is a given – it’s just that attrac- tive. But having tech inside that’s just as pretty makes the cam a winner: start with a wide-angle lens and manual exposure controls for that. Add external stereo mic support for leaving the builtin out of the “picture” or take high-res stills to accompany the two hours of 1080i or 720p HD video you can shoot. Add an HDMI video output to go direct to an HDTV if you don’t want to use the built-in USB for transferring video to a Mac or PC (don’t forget the removable rechargeable battery which means you can carry spares around). Finally, put the Vado into motion detection mode and let it start itself the next time your arms ache from holding a cam up while waiting for Shamu to jump out of the water. Cisco FLIP Mino HD Calling a new iteration of an existing camcorder “next-generation” can be risky if you don’t deliver some significant differences that are readily understood. Fortunately, Cisco hasn’t faulted here, because the Mino MD doubles the memory, enlarges the screen and adds direct uploading to Facebook. That should make many folks happy. Capturing HD is still the name of the game, but adding a brushed metal finish jazzes up the look for the style conscious (don’t forget you can personalize the cover with thousands of available Magix Video Pro X2 Sony FX Handycams designs if you’re not into making your own), and the touch-sensitive buttons give it a clean look as well. DXG 3DView Pocket Cam DXG is diving into 3D video with a pistol-grip pocket cam that, if nothing else, makes for a sensible hold while shooting. Dual lens combined with dual video recording streams perform the 3D “magic,” while an extra display shifting off to the side can be used for glasses-less 3D content viewing. That it’s coming out later this year could be true, but it’s also true that what we saw isn’t ready for prime time yet. VIZIO XVT Pro Series HDTVs All this talk about HD camcorders has made me thirsty...for a wireless HD solution that can let me avoid having to pop cables between my videos and the HDTV. So, while a 72-inch LED-driven XVT Pro HDTV from Vizio can join the parade, I want its high-def wireless HDMI leading as the Grand Marshal. Because being able to stream full HD wirelessly using 60GHz technology should make for a robust signal – even if you do have to go and drop a few more dollars on the Vizio Wireless HDMI adaptor for your video source. Sharp AQUOS Quad-Pixel HDTV Call me old-fashioned, but doesn’t anybody care about making an HDTV that LOOKS good? Give a shout out for the engineers at Sharp, because they think the opposite of color blind is color-overwhelmed. As in beefing up their HDTVs from millions of colors to trillions. The quad-pixel tech adds another color element to the mix and so shading goes up more than just a notch. Will you notice this on one of their sets out in the spring? Maybe not. Maybe all you’ll notice is how life- t Visi contents Casio Exilim EX-FH100Digital Camera Lowel Blender full screen Magix Video Pro X2 Kodak PlaySport Zx3 Pocket Camcorder print 36 VIDEOMAKER >>> APRIL 2010 VIDEOMAKER >>> APRIL 2010 Watch the interview with producer Jon Landau about Panasonic’s 3D technology here: videomaker.com/r/394 Read our blog about the camera here: videomaker.com/r/395 contents full screen print 37 CES Wrap like the image looks. If that’s the case, then you’ve noticed correctly. Wacom Intuos4 Professional Pen Tablet The biggest beef about drawing on a computer is that there’s none of that feedback you have on paper (whether your drawing ability is any good or not is another issue altogether). But if you’re going to add imaging to videos through software, you are pretty much restricted to a drawing pad. Of course, it should be a good drawing pad, which is where Wacom comes in with the Intuos4. It’s redesigned to be more responsive both from the physical as well as execution point of view. Different sizes means a more sensible approach, depending upon your hands and the kind of imaging you draw. The new precision mode and the added levels of pressure sensitivity for dynamically adjusting exposure, brush size, line weight and opacity are all worth knowing about – and using. Barber Tech Steddiepod If a camel is an animal created by committee, then mixing a camera stabilizer, monopod, tripod and doggie cam with a camera boom should lead to interesting results. Which in this case is the Steddiepod that makes camera stabilizing on the go as easy Creative Vado HD Pocket Cam CES Wrap as today’s camcorders are light. Pretty much any kind of shot that was stuck to a stand held down by weights is liberated. Helping this along is a springloaded fluid head with built-in level ball Dutch tilts and legs that twist and fold up for transport. Steadicam iPhone Smoothee Don’t be a snob like me. Sure I take videos with my iPhone 3GS, but I never expect them to be as stable as the ones shot on my camcorder. ‘Course I’m not so old that I can’t learn a new trick, especially when it involves a comfortable grip that doesn’t get in the way of using the iPhone as a, er, phone while bringing the stability of a steadicam to Apple’s video-shooting gem. And while Smoothee is designed for the iPhone, the quick-release mount can turn into a tabletop stand or be put on a tripod for more conventional use. So, even if I start getting the shakes (living in Southern California can do that to you), my iPhone won’t be sharing it. Imation Pro WX Wireless USB External Hard Drive There was a time when you got excited when a hard drive could be connected to a computer or laptop and just worked. Now it’s all about speed – actually no. If it’s the Pro WX external drive, then it’s all about wireless. Plenty of storage (1 terabyte) is good, as are fast data transfer speed and dependable parts to keep the drive spinning for a long time. But by adding wireless USB technology for data transfer, you can leave the drive safely up to 30 feet away and keep it spinning on its merry way as up to 15 megabytes get transferred each second. There’s even security built in so that hackers don’t grab your data (is it time to put on those foil helmets already?). Iomega iConnect Wireless Data Station A Network Attached Storage device (NAS) sounds cool and high-tech. Who doesn’t like the idea of being able to access a drive filled with videos throughout your network like the pros do? But who has the time, inclination or the bucks to set one more of these up? That’s where iConnect comes in – no it’s not from Apple; it’s Iomega’s great idea with a low price tag too (again, not Apple). Think of it as a “wireless data station” that joins your network quick and fast. Then all you do is plug a USB drive (or more than one) into one of its four USB ports and start using it. Works with Macs and PCs for sure, even the PS3 using that DLNA standard. Built-in security protection too. Well done, Iomega. GoPro HD Helmet HERO Tired of jury-rigging a camcorder to your bike or ruining yet another bicycle helmet trying to shove a bullet cam through? Be a hero in what you’re going to shoot, not how you shoot it, by using the HD Helmet Pro. Constructed to do the job you want with precision and a nice 1080p HD video, we’re talking pro quality resolution and frames per second with auto exposure handling the chores and a mono mic tossed in. Keep going for almost three hours on a single charge and record up to nine hours, if you have a 32GB SD card inserted. And for the still photo folks, you can start the camera recording and have the shutter take over automatically as the 5-megapixel photos go off in a predetermined sequence from 2 to up to 60 seconds. Plus all the cords and strap-mounts you need for attaching it to helmets of your choice. Just remember to let the removable polycarbonate housing do its thing to protect the camera from hazards and water. And, yeah, you can clamp it to the bike’s handlebars if you want... Buffalo USB 3.0 ExpressCard There’s an old song about Buffalo gals coming out tonight, but I’d rather dance with a USB ExpressCard that can work with one of those super-fast VIZIO XVT Pro Series HDTVs contents GoPro HD Helmet HERO print 38 VIDEOMAKER >>> APRIL 2010 Seagate USB 3.0 External Hard Drive Kit for Laptops ...or maybe I’ll go with Seagate’s solution too. This is a full USB 3.0 solution for laptops using an external drive and consists of the BlackArmor PS110 USB 3.0 and a USB 3.0 add-in controller card that fits into a PC card slot. Now you’re fast, and I mean fast as in up to 100MBps which is about 3X USB 2.0 drives, access to a 500Gigabyte 2.5-inch drive spinning at 7,200 rpm (drawing its power from another USB port). On to the Next Show… As much as we’d love to write about every product we saw at CES, Videomaker had seven people besides this writer in attendance, and we can’t fill the entire magazine with all our slobberings over new gear coming out. As much as we’d like to, really, truly. So read more about many other new products we saw and companies we got to visit on the Videomaker blog (http://videomaker.com/community/ blogs/videonews). Until, then, well, we’ll be checking out the next tradeshows coming up, as this is tradeshow season: PMA in February (Photo Marketing Association) and NAB (National Association of Broadcasters) in April. Marshal M. Rosenthal is a technology and consumer electronics freelance writer. Iomega iConnect Wireless Data Station full screen USB 3.0 hard drives. So I’ll say hello to the Buffalo guys who make it instead. Popping in the card lets your laptop take advantage of the drive’s fasterthan-Firewire speed, making it ideal for on-location video recording in real time. Of course, fast access to storage space begs plenty of other uses, but the ExpressCard’s two slots and up to 5Gbps is beckoning for some serious use. Of course, now I’ll have to get one of the USB DriveStation HD-HXU3 3.0 drives from Buffalo as well... FEEDBACK For comments on this article, email us at editor@videomaker.com, use article #14741 in the subject line. VIDEOMAKER >>> APRIL 2010 ! "# $ % &'(# ))*(#+'*,-!. % ""#" %" " !/ % "* 0*#1 % # % %2""345 # * % ( 6776 * # #$3-$# * 7 %* 8 % 7. * contents *9* : /;& <= ) 0(+#,>/7$? ) 0(+#,) full screen print 39 Merchandise Look Professional While in the Field! Black Cap Black Printed T-Shirt Stylish FlexFit design with embroidered Videomaker logo. Directors often wear baseball caps to avoid glare from the sun and studio lights. Why not make yours a Videomaker cap? “Shoot, Create, Publish” graphic on the back, Videomaker logo on the front. Wear it to social events so they know you’re into video. Black Professional-Casual Camp Shirt HD Video DSLRs A Different Kind of Camcorder Embroidered Videomaker logo above the pocket. A great way to identify yourself as the professional videographer at Event/Formal shoots. eBooks & eDocs Download an eBook today! You'll be able to save the file and print it off at your convenience! Over 100 titles! New! Video On Demand Download a popular Video On Demand right to your computer in minutes! Choose from more than 90 videos! BY DOUG DIXON Instructional Books Select from 30+ books! Videomaker Workshops • The Basics of Video Production $399 • Advanced Editing $499 • Intensive Lighting $499 • Documentary Production $499 Upcoming Dates: • February 26-28 • March 19-21 contents full screen print • April 23-25 • May 21-23 • August 13-15 • October 15-17 • December 10-12 Go Online For More Details Order Online: http://www.videomaker.com/merchandise • Order by Phone: Toll Free 1-800-284-3226 Shop our Online Store at www.videomaker.com/merchandise Still or motion? Camera or camcorder? Technology is converging — consumer digital cameras now shoot HD video and video camcorders shoot multimegapixel photos. And the trend has continued into professional digital SLR cameras, which have evolved to add the ability to shoot HD video. contents full screen print VIDEOMAKER >>> APRIL 2010 41 Low Light — no grain Outdoor Natural Lighting — shallow depth of field Indoor Lighting — shallow DoF Night Lighting — extreme wide-angle CU Sometimes called a video or HD DSLR, this idea was originally conceived as a way to help photojournalists expand their repertoire and has grown quickly to become attractive to videographers as well. Canon, Panasonic and Nikon have responded to growing interest in video DSLRs by introducing a range of products, from enthusiast models around $900 to more rugged workhorse models around $2,000 for pros like journalists and wedding photographers to high-end models around $5,000. For example, Nikon popularized the video DSLR concept with the D90, introduced in mid2008, a 12.3-megapixel camera with a D-Movie video mode, which is now available for $900. Nikon then added the D5000 at $680, with a flip-out LCD. The D300S at $1,700 adds more pro features, including an external microphone jack, support for both SD card and more rugged CF card storage media, and an enhanced 51-point autofocus system with contrast-detect AF during movie recording. The new professional 12.1MP Nikon D3S is a more rugged, bigger and heavier unit, at $5,200., with improved image quality and response speed, featuring high ISO sensitivity from 200 to 12,800 (compared to 200 to 3200 on the other models). The D3S also steps up to a full-frame FX format sensor, roughly the size of a 35mm film frame, with higher sensitivity and lower noise. The smaller DX sensor used in the other cameras allows them to be smaller and lighter, but introduces a 1.5x crop factor (i.e., a 24mm lens on a DX sensor camera will actually result in an approximate 36mm view). Similarly, the Canon product line ranges from the 15MP EOS Rebel T1i at $800 to the semi-pro 18MP 7D at $1,699, the workhorse 21MP fullframe 5D Mark II at $2,699 with 24-minute HD continuous recording to a 4GB CF card, and the new rugged professional 16MP EOS 1D Mark IV at $4,999., with 45-point AF and wide ISO range from 100 to 12,800 (and to 102,400 in extended mode), so you can shoot almost in the dark. The Canon cameras shoot in Full HD (1920x 1080) resolution, plus 720p and SD, and store the clips to MOV files with H.264 compression. Canon is providing firmware updates to support true video rates: 30 (29.97), 24 (23.976) and 25 frames per second. However, these cameras have short recording times, limited by the size of movie file on the storage card. For example, the Nikon cameras store up to 2GB per clip or approximately 5 minutes of 720p video or 20 minutes at standard definition. The Canon cameras record video up to 4GB per clip, or 12 minutes of Full HD video, 18 minutes of 720p HD or 24 minutes of SD. Video DSLRs With a video DSLR, you can carry one camera for shooting both photos and video, and shoot video unobtrusively and in difficult environments. The big bonus, however, is the glass AJA – the ability to use the extensive collection of XENA LHE photographic lenses available for DSLR cameras, giving you amazing flexibility in controlling focal length and depth of field. Combined with high ISO ranges from image sensors much larger than typical camcorders, the result is great flexibility in shooting in low-light situations. However, these cameras are still primarily designed for still photography, and not for studio or event use, so they don’t have features like builtin stereo microphones, and they typically shoot only short clips, around five to ten minutes. In addition, the video modes do not provide the full capabilities of the traditional photographic modes, with limited manual control and/or limited auto focus or exposure options. The Cameras But over the past year, companies including Accessories for DSLRs contents full screen print The video DSLR camera is a different kind of hybrid device, and so can use new rigging systems, whether handheld or shoulder-mounted for shooting on the move, or locked down for more cinema-style setups. For example, Switronix has expanded from batteries and charging solutions for professional film and video with its DSLR-PRO camera shoulder support/stabilizer system that is designed to be light and compact for fluid shooting (starting at only $279). The product is based on the Switronix video stabilizers, but with the camera baseplate mount elevated, DSLR shooting brings the viewfinder to eye level. It’s constructed from aircraft aluminum, with the design featuring a flexible shoulder bracket, 42 handle grip and 3-axis adjustment for positioning the camera. For more cinema-style shooting, Redrock Micro offers a line of cinema accessories for “independent filmmakers, film educators and students, and budget-conscious moviemakers.” Its flagship M2 cinema lens adaptor allows DV and HDV cameras to use 35mm cinema lenses to control depth of field, angle of view and focus (bundles start at $1798). Other accessories include a follow focus system, mounts and filters. More recently Redrock has introduced a line for use with video Digital SLR cameras, the DSLR 2.0 Hybrid Support Rigs, with models for handheld use and in shoulder mount and cinema-style designs. These are compatible with most video DSLRs, including Nikon and Canon, and most components can be used with video cameras, RED cameras and other DSLRs. The Redrock rigs are built around a DSLR baseplate, a VIDEOMAKER >>> APRIL 2010 YOU CAN BRING YOUR TALENT TO THE CAPABILITIES OF THE CAMERA, INSTEAD OF VICE VERSA. These cameras shoot video in Live View mode, in which the mirror flips out of the way so you can monitor the scene directly on the LCD display on the back of the camera. The Nikon D-Movie mode shoots HD video up to 720p (1280x720) resolution (1280x1024 on the D3s), at 24 fps. The video is stored in motion JPEG format, good for extracting stills, and the cameras have HDMI out for viewing photos and videos directly on an HDTV. Photos to Video The benefits to photographers who want to add video to their repertoire are clear, says Steven Heiner, senior technical manager at Nikon: “It’s within the comfort zone for still photographers… The technology changes, but within the same tool, lenses and creative sensibilities. They can shoot short clips, with same compositional confidence, the same intent, in low light, with a long lens. Stills come to life; you can bring your talent to the capabilities of the camera, instead of vice versa.” Agrees Bill Frakes, Sports Illustrated staff photographer: “Two things principally motivated me to start working with a DSLR camera instead lightweight connector to attach the camera to 15mm rails, with set screws for adding accessories. The rigs use carbon fiber rods for strength with reduced weight and are based on cinema standards when possible, including the 15mm rails, film pitch gearing and standard filter sizes. They are available in pre-built configurations, or you can build your own rig from the individual components. For handheld use, the Redrock UltraPort rig has dual rubberized side grips ($440), and a model called theEvent for wedding/event and photojournalists adds a body pad extension for additional support ($640). The Captain Stubling model adds follow focus with 35mm lens gearing for repeatable focusing, and a horizontal handgrip to control focus with the thumb and forefinger ($975). The basic eyeSpy shoulder mount rig has a shoulder pad HD Video DSLRs HD Video DSLRs Video DSLR frame grabs from Noah Harald (www. noahharald. com) using a Nikon D90. extension, plus a handgrip positioned under the camera, with a rod extension to center the camera’s viewfinder, at around 1.6 pounds ($620). Additional configurations add counterbalance weights (2.4 pounds each, $810) and follow focus gearing (4 pounds 9 ounces, $1470). Redrock also offers a shoulder-mounted DSLR Field Cinema Bundle designed for use with an external video monitor, with support cage and top handle for stability and ruggedness ($1995). And for cinema-style set ups, the DSLR Cinema Bundle features a matte box and follow focus, with support cage and top handle, also useful for low-angle shots (around 9 pounds, $2445). For more on the Switronix DSLR-PRO and two other DSLR accessories, please see the review on page 22 or at www.videomaker.com/article/14645/. VIDEOMAKER >>> APRIL 2010 43 contents full screen print SubScriber Alert! HD Video DSLRs Dynamic Range www.NoahHarald.com of a strictly video camera. First, the incredible optics. Second, the comfort of working with the same basic equipment configurations I have used for my entire career. These cameras allow me to consolidate my gear list, so I can take a wider array of lenses and accessories.” Frakes has worked with the Nikon D90, D300s and D3s. See his websites for his photography (www.BillFrakes.com) and multimedia productions combining stills, video and audio (www. StrawHatVisuals.com). Video also provides a new revenue opportunity, says photographer Ami Vitale: “Content is in demand, and I had to make the change to survive. It’s also practical because I shoot print formats as well as video, and having it in one body really simplifies things.” Vitale travels widely for magazines including National Geographic, Newsweek, Time and Smithsonian. See her website for an example of video she has shot with the Nikon 300s (www. AmiVitale.com). color in the noise. This is more like film grain.” Noah Harald is an independent filmmaker and videographer who has made the transition to shooting with DSLRs. See his website for examples of his films and commercials (www. NoahHarald.com). Harald’s introduction to the Nikon D90 came for a commercial for Lincoln. “I was excited about using Nikon lenses for a film shoot,” he says. “We shot the night life of L.A., cars, bars and restaurants, and were not weighed down with a big crew. It worked perfect and I fell in love. There’s a depth of field, sharpness and clarity of prime lenses.” “It was great how little light was needed,” says Harald. “In the interiors, the more we turned off the lighting, the more real it looked. The contrast looks beautiful; there’s a quality to the dark areas, with more dynamic range. Camcorders provide around 4 to 5 stops, film provides 11 and this is in the middle. There’s more detail in the black; it’s richer.” “They look more cinematic,” he says. “There’s a quality to the video that’s more film-like. Video can be incredibly sharp – too sharp – or the noise will give it away as video noise, with www.AmiVitale.com full screen www.BillFrakes.com 44 Night Lighting — good black-and-white contrast Video to Stills contents print Indoor Lighting — full grayscale spectrum VIDEOMAKER >>> APRIL 2010 Production Shooting video with a DSLR consolidates equipment and provides more flexibility for production, especially because you’re not so obviously shooting video. “I travel to remote places,” says Vitale, “and the weight and amount of gear that I carry is always an issue. I was excited by the possibility of being able to switch so quickly and easily between formats without having to carry a completely different setup. I need for people to feel comfortable and relaxed, and this format was a lot less intimidating than a much bigger traditional video camera.” HIGH-END MODELS HAVE AUDIO INPUT; OTHERS RECORD ONLY MONO SOUND. However, even with the smaller camera, says Harald, “People don’t question the professionalism of the crew.” And in a more traditional filmmaking setup, “It works well on rig and is something of a conversation piece.” In addition, the small size allows for more run-and-gun use. “You can shoot with just the camera,” he says, “while a more visible camcorder causes problems in a night club or a restaurant. It’s a great advantage for guerilla filmmakers.” Shooting Style But there’s still an adjustment, whether your background is photos or video. For Vitale, “Video, as a medium, is quite Zen-like. It forces still photographers to plan more, to be more patient and to think about the story in a tangential way. The principles are the same, but you need to wait longer, hold shots and get a variety of angles and perspectives to make it flow.” Shooting with a DSLR is “more like film,” says Harald. He recommends using a rig when possible, saying “it helps to stabilize the camera since it uses a rolling shutter.” Similarly, Harald recommends capturing sound separately – the cameras are not as quiet as camcorders, and, while the high-end models have an audio input, the others record only mono sound. This is a good idea even if you just plan to shoot photos, since you can use the ambient sound to create multimedia presentations with animated stills, as shown on Frakes’ StrawHatVisuals.com site. Wrap Even with all this excitement, video DSLR cameras are still in the early phases of development. There are obvious areas of improvement, some of which are already appearing in the newer, higher-end models, from longer recording times to more complete photo-like control when you are shooting video. Harald concludes, “It’s a different format, not for long weddings or sports. But it would be hard to go back to a video camera with a fixed lens. I’ve converted a couple of friends and expect that DSLR for video will be pretty common in a few years.” Doug Dixon covers digital media at Manifest-Tech.com. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14766 in the subject line. V I D E O M A K E R > > > Ap R Il 2 0 1 0 You may be contacted by unauthorized subscription agents asking you to renew your subscription. These companies are not authorized to represent Videomaker nor are they affiliated with us in any way. Please do not give out any personal, payment or credit card information to the companies listed below. Videomaker will not accept orders from these companies and if you choose to renew through them you will likely never receive any issues of Videomaker. Please do not renew your subscription by mail, phone or Internet through any of these unauthorized companies: • American Consumer Publishing Association, Inc. 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If you are contacted by any of the companies listed above, please let us know immediately by writing to: Videomaker Customer Service P.O. Box 3780. Chico, CA 95927 customerservice@videomaker.com 45 contents full screen print Making Music When most new filmmakers think of making a music video, images of beautiful dancers, exotic locations and slick musicians come to mind. O n big-budget productions that scene sometimes plays out. In the low- to no-budget realm of independent video production, the scene will be far more modest. Despite real-world limitations facing indie video producers, there’s nothing limiting you in creating a visually artistic and memorable video to highlight a song. Where to Begin? Before you can make a memorable music video (often called MV in the trade), there are two critical areas you must consider first: the Aesthetic Style and Logistics. Logistics involve the hard realities of how your video will get made. Ultimately, the size of your production budget and available resources will determine your options. For more information on MV logistics, see our article by Michael Fitzer, The Art of Making Music Videos (www.videomaker.com/article/13049). Aside from logistics, the biggest influence on your MV will be its aesthetic style. In a nutshell, aesthetic style relates to the artistic elements and manner in which you present your music video. Aesthetic Style is what we’ll focus on. During your initial brainstorming session, seriously listen to the music and let your ideas flow. Filter out all the ‘wouldn’t it be great if...’ ideas like explosions and car chases from the process. Extravagant ideas will cost time, money and resources you most likely can’t Videos: by H. Wolfgang Porter Styles These basic styles break down as follows: Musician(s) Only feature the artist or band onstage or on-location with no other elements. Narrative Story typically involves elements which tell a short story reflecting the lyrics or sentiment of the song. Narratives usually also involve on-screen talent as story elements. Musician within the Narrative includes the artist(s) as story elements. Abstract Montage is a combination of images or artwork that may have no relationship to the music but are visually stimulating. Music videos have been around for a long time and many of the top producers today started from humble beginnings. Two individuals whose names are rising in the industry are MTV contributor Ali Santana and independent film director Jessie James Jackson, Jr. Their videos Automatic Writing (Santana) and Oh Jesus (Jackson) are great examples of mixing aesthetic styles and keeping it simple. I took the opportunity to speak with them about their differing approaches to creating aesthetic styles. Open art photos by Jesse Rosten www.JesseRosten.com Making Sense of Making Art afford. Since the music is the force driving the video, you’ll need to decide what style of video you want to make. The most common styles feature the musician(s) only, a narrative story, musician(s)narrative mix and abstract montage. contents contents full screen full screen print print 46 VIDEOMAKER >>> A pRI l 2010 V I D E O M A K E R > > > A p R Il 2 0 1 0 47 Making Making MusicVideos: MusicVideos: Videomaker: What is your main job in the video-film industry? Ali Santana (Automatic Writing): I’m primarily an editor but I also direct. Jessie James Jackson (Oh Jesus): My main job is film directing, but I also write, edit and produce. VM: How did you begin making MVs? Jessie: In the ‘80s I worked at a broadcast link company for live sporting events. I became interested in camerawork and enrolled in the Vancouver Film School to learn cinematography, but fell in love with directing. After working in Canada for a few years, I came back to the States and started my own production company. I START BY LISTENING AND IMAGINING WHAT IS HAPPENING ON-SCREEN. Ali: As a teenager I always had ideas of how to make MVs. It wasn’t until college that I gained the skills to make them. After college I started collaborating with Rapper “Spec Boogie” (Robert Cave) on my first real MV. We worked well together because I had met him years before when he was still a graphic designer, so he had a good aesthetic sense. contents full screen Director Jackson kept the video for Oh Jesus simple, and let the music tell the story. this would be a Musicians within the Narrative style of music video. VM: Do you alone come up with your MV’s aesthetic style? Ali: Usually yes. I start by listening to the music and imagining what is happening on-screen. Then I write a treatment and afterwards it grows into a collaborative project. Jessie: Yes. I also listen to the song and then, based on the budget, I’ll come up with an aesthetic style for the video. Most clients want to put in a lot of nonsense like explosions and lots of girls, but don’t take their budget into account. Initially, most don’t understand that the budget decides how to shape the look of the video. VM: What influences do you draw on for your aesthetic concepts? Jessie: Sometimes I’ll close my eyes while listening to the music and think about situations. My concepts come from both mine and the client’s experiences and those ideas go into the video. Ali: Growing up with a film director father and a photojournalist mother, I can’t help but be influenced by their work. As a kid I would go with my mother on the job and I would sit on my father’s lap while he edited movies. I also draw inspiration from art, movies and personal experiences. VM: Which style of MV best suits your aesthetic style? Ali: I love it all, but the song really dictates what I make. I also love telling a story. Abstract style is a favorite since I was exposed to artists like Keith Harring and Jean Michael Basquiat. I prefer art that streams from the subconscious unfiltered and not ‘too clean.’ Jessie: I also like abstract imagery, but I think you can do so much more featuring the musician to best express the song’s theme. I prefer working with jazz, because you don’t always need as much coverage for your ideas. Ali: The work I’ve done for MTV reflects the sense of cutting-edge abstract style that influenced me as a teenager. I wondered what it would be like working Director Santana used a Musician within the Narrative style of shooting for the music video, Automatic Writing. for them, and now it’s pretty fun doing that kind of crazy-looking video work. VM: With so many MVs posted on YouTube and other sites, what advice would you give indie producers to help improve their video’s aesthetic? Jessie: I think simplicity is something most MV producers don’t understand. To convey a concept, you have to understand the pieces you have to work with. Trying to copy work that cost millions of dollars to make and have it look awful because you didn’t have the budget isn’t too smart. When you keep things simple, you can always add to it later. Basic shots are invaluable when making your videos. As a director, you also need to understand basic editing, as it will make your life easier! Ali: I have to say, there is a lot of questionable stuff on YouTube, because these days there are no ‘gatekeepers’ like on TV to say you can’t make something. So everyone is making stuff exactly like the last person did. from a conversation between rapper “Elucid” and me as we walked around NYC one day. During our walk, we saw so many things relating to the song that I created a document with hundreds of reference images. We liked the idea of messages being hidden in everyday life, so I went out and shot lots of guerilla-style footage in addition to using stock footage to build the aesthetic look. To me, the artist’s lyrics are like a movie script and, as a director, I must visually interpret those words into video. VM: What tools do you use for your work? Jessie: I use a Mac Workstation and FCP Studio for my production work. Ali: I primarily use a MacBook Pro, FCP and After Effects to edit and composite. I use Vegas for audio work; it is one of my favorite programs. However, AFX is my ‘wife’! Jessie: I want to add that the MV world has changed. You now can make films from the comfort of your home. You don’t have to chase after technology, because it will kill you financially! Get something you can work with and master it. Just because you have the latest gear doesn’t mean you know what you’re doing. Chasing after the latest gear can be like a drug, and I can’t tell you how much money I wasted doing that. Ali: I’m passionate about coming up with an idea and can’t understand how someone can be happy copying someone else’s work. Today you don’t need a $100k workstation to make a great music video! Because of that, it’s so much easier to get your own ideas out there. VIDEOMAKER >>> APRIL 2010 Writer-Producer-Director H. Wolfgang Porter is a former U.S. Naval Combat Cameraman who now produces independent film and published works. FEEDBACK For comments on this article, email us at editor@videomaker.com, use article #14214 in the subject line. Music Videos are pieces of art just like any painting or sculpture. Memorable /&8 -JUFQBOFMT .JDSP1SP The perfect camera light—fully dimmable & powered by six AA batteries ADVANTAGES > Heat-free LED technology > Integrated dimmer 100% to 0 > Runs 1 to 1.5 hrs. on 6 AA cells (alkaline) 5-6 hours on Lithium batteries > Use on & off camera > Lightweight-Just 9 oz > 50,000+ hours of LED life > Includes 3 gel filters Double the output of the Micro model NAB Booth # C6629 WITHOUT Litepanels MicroPro™ VM: Tell us about the styles used for the videos Oh Jesus and Automatic Writing. Jessie: The concept for Oh Jesus came from a blues song from my film, The Bridge.The video was intended to look like the musicians were having a jam session beneath the bridge featured in the movie. I kept the camerawork really simple with basic cuts and slow camera movements. Ali: Automatic Writing’s concept came WITH Litepanels MicroPro™ contents Ph: 818 752 7009 • info@litepanels.com print 48 artworks come from the artist’s own ideas or personal experience. Though your budget will create limitations, limits are just like rules, as they can be bent or broken. Some of the best creative solutions in filmmaking have come from budget limitations. Yeah, you might not have those hot girls and explosions, but they might not have been necessary. Remember that you are an artist and your canvas is video, so your MV’s aesthetic style will be limited only by your creativity. VIDEOMAKER >>> APRIL 2010 w w w. l i t e p a n e l s . c o m 49 full screen print basic training BASIC TRAINING When to Move the Camera by K y l e C a s s i d y You know the camera moves and names, but that’s just half the battle. Here are some answers to WHEN and how to use those moves effectively. to show two mountain climbers scaling the side. Zooms can also redirect our attention; zooming in on a single face in a crowd tells us that person is important and should be paid attention to. Zooming out can add context to a shot you used to confuse the viewer initially. The 1929 Harold Lloyd scene from Welcome Danger shows Lloyd reading a newspaper when a strange arm suddenly turns the page. The camera then zooms out to show that he is not holding the paper himself, but reading over another (very annoyed) man’s shoulder. Pedestal – To Reveal Hidden Detail In the early days of filmmaking, the camera didn’t move very much, and this was for several reasons. First, no one had yet thought to put cameras on wheels, and secondly because directors believed that moving the camera would confuse people trying to follow the narrative. As moviemaking progressed, cameras started to move in all sorts of ways, and these movements were used to add to the storytelling. Today, most major productions feature a lot of camera movement, from subtle dollying along as two characters walk down a pathway to elaborate crane maneuvers which fly us over a scene and bring us in close to the action. Today a moving camera is the rule, but there are notable exceptions, such as Jim Jaramusch’s 1984 film Stranger Than Paradise, which is shot entirely with static cameras. Let’s have a look at each of the camera movements we talked about in the August 2009 story, Camera Movement Techniques (www. James Cameron uses a pedestal-up (or boom-up) to great effect in the beginning scenes of his 1991 action classic, Terminator 2. The title character, played by Arnold Schwarzenegger, goes into a bar and steals the clothes of a biker. We videomaker.com/article/14221), and discuss when you might use that motion to forward your story along. Tilt – To Reveal Size Tilts can be used to show size and scale. Martin Campbell uses the tilt to excellent effect in the opening scene of the 1995 James Bond film, Goldeneye. Bond, played by Pierce Brosnan, but, in this scene, doubled by stuntman Wayne Michaels, walks up to the very edge of the Verzasca hydroelectric dam in Switzerland. While Bond looks straight ahead, the camera dramatically tilts down to reveal a dizzying view of the 750-foot drop. What will our hero do? Our stomachs contents print In this example from the movie, Goldeneye, the tilt shot isn't used just to show size and dimension, but also to elicit that feeling of vertigo when looking over the very steep ledge James Bond must jump from. 50 see his boots as he steps outside and, as George Throgood’s Bad to the Bone plays, the camera pedestals up so that we can see his entire outfit from his boots and ending in the trademark Terminator sunglasses. Dolly – To Follow a Subject Though you can dolly down an empty hallway, dolly shots are often used to follow or lead a subject rather than to show off surroundings. You may dolly backwards as the bride and groom walk down the aisle, or you may dolly to follow two people down a sidewalk. In Hollywood, dolly shots are usually done on a track, across which the camera moves on wheels. With the advent of affordable stabilizing devices, dollying has not infrequently given way to a follow shot, which isn’t limited to the forward and backwards motion of an actual dolly, but can follow people as they move through a room, up stairs and into places it would be difficult to get an actual dolly into. flutter, England’s favorite spy jumps. As he falls, a number of other cameras (six cameras total filmed the shot) follow his movement with downward tilts. Luckily, 007 had thought ahead and wrapped a bungee cord around his ankles, saving him from pancaking onto the rocks below, but very capable camera work ensures that we see every foot of his fall. Pan – To Follow the Action Panning can be used to follow action, like a football pass. But pans can also be used to lead us from one place to another. It may follow a dog as it runs across a field and then stop on the window of a building to indicate that the next scene takes place inside that room. VIDEOMAKER >>> ApRI l 2010 Zooms are the most common camera movement shots – though to call them “camera movements” is a little deceptive, since the camera itself isn’t really moving, but rather the focal length of the lens is changing, bringing the audience closer to the action. Zooms can be used effectively to establish a scene – beginning with a wide shot of the Grand Canyon, then zooming in Some inexpensive doit-yourself dolly moves can be achieved using wheelchairs or even platform carts from a hardware store. The wheelchair is relatively smooth, but the cart might push your patience at bit. Make lots of takes! DOLLY SHOTS ARE OFTEN USED TO FOLLOW OR LEAD A SUBJECT RATHER THAN TO SHOW OFF SURROUNDINGS. Truck – To Move Alongside a Subject Zoom – To Define Detail full screen April 2010 A classic slow tilt-up shot was used in Terminator 2 to emphasize the character's size and power. Trucking is done when the subjects need to move from one place to another and you want the audience to move along with them, rather than merely watch them from a distance. Think about two members of a marching band who are having a conversation; the camera trucks along with the marching band because the conversation is important to the scene. Using a pan at this point would have the subject’s distance to the camera change over time. V I D E O M A K E R > > > Ap R Il 2 0 1 0 contents full screen print 51 basic training Freeform Movement Apart from the basic camera moves, there are a few fancier, less common or stylistic ones. Each of these can be used but require a greater deal more planning, execution and re-takes. Handheld – To create a “You Are There” Feeling Handheld shooting is done because there is no other option, such as a fast-moving scene where the action is not planned out beforehand, or when you want to make the audience feel like they are part of the action. The slight wobble of handheld camera work makes us think subconsciously of documentary films and adds a “you are there” feel, making a show like The Office appear, at least subconsciously, as though it is real and not scripted. Floating Cam Shot – To Follow Unrestricted Most likely you remember the Steadicam shot from Stanley Kubrick’s 1980 adaptation of Stephen King’s The Shining. Garrett Brown, the device’s inventor, was strapped in a wheelchair with his camera mount while a series of grips, in relay, pushed the contraption around the second floor of the hotel following actor Danny Lloyd riding his Big Wheel trike. Steadicams and other stabilized mounts enable you to bring your camera, and therefore your audience, close in to the action without the restrictions brought about by a tripod. The camera, held steady by counterweights, seems to float through the air. Good uses might be party scenes and long shots where a character is followed through a complex environment. THE SLIGHT WOBBLE OF HANDHELD SHOTS GIVES A "YOU ARE THERE" FEELING. Crane – To Create Movement, to Reveal Detail, to Follow Alfred Hitchock created the iconic crane shot in the opening of his 1958 masterpiece, Touch of Evil. The camera starts in close on a man holding a bomb, and, in a single shot, dollies behind him as he places the nefarious package in the trunk of a car, then cranes up to rooftop level as the car pulls away and continues to crane around the block, following the car. The shot, which continues, uncut, is a panoply of dollying, trucking and amazing crane work until the bomb goes off some three-and-a-half minutes later. Quentin Tarentino pays credible homage to this in his 2003 film, Kill Bill, with a tracking shot that follows Uma Thurmond through a party, craning over the roof. The crane shot gives the viewer an unusual bird's-eye view. It can be a little unsettling, but, used properly, it’s a powerful addition to your repertoire. Zolly – To Add Suspense contents full screen print Crane shots give perspectives that we don't often see. They can show vast vistas or begin high and wide, then settle on a single subject. 52 Lighting April 2010 One final technique which, while rarely used, can have a great effect is the Hitchcock Zoom or zolly, comprised of a zoom and a dolly. It’s a difficult technique because the two need to be exactly coordinated in order to work. The camera zooms in (or out) while the VIDEOMAKER >>> ApRI l 2010 dolly goes in the opposite direction. The objects in the foreground stay the same size, but everything in the background either shrinks (zooming out) or gets larger (zooming in). This can be done quickly, as Stephen Spielberg did in Jaws, where the beleaguered police chief witnesses the shark attack on young Alex Kintner, or slowly, as Peter Jackson does in the Fellowship of the Ring, where it’s used to show that something strange and unnatural is occurring just before the hobbits see the evil black rider for the first time. In Hollywood, pulling off a Hitchcock zoom is a multi-person endeavor that involves a camera operator, a focus-puller and one or more people operating the dolly. You’ll probably want to try it with at least two people (one operating your dolly and the other the camera) and a lot of practice. Or, if you have a smooth motorized zoom, a camera stabilizer and a lot of chutzpah, you can try it yourself. (If you do, we’d love to see it – put your results up on YouTube, Vimeo or other video-sharing site and send us a link.) Final Move While you’re watching TV and movies, be aware of camera movements. When are they used? How do they contribute to the mood? Are moving shots bookended by static shots? How many moving shots do you see in a row? How does this differ between different types of productions? Do you feel that some productions have too much camera movement? Why and when? Sometimes, the movement is so subtle only the director, the DP and you, the savvy Videomaker reader, are aware of it. This is your homework from now on, every time you look at a film or video. Make every day a learning experience. What is Lux? 1 by Terry O'Rourke Manufacturers seem to have different way of defining the word lux. But what is it, and how can you compare your camcorder's “lux equals level” to that of others? Lux is a pretty cool word; just saying lux sounds expensive. But, unlike diamonds where bigger is better, smaller is better in the world of lux and camcorders. Smaller lux rating = better camcorder. But not so fast; unlike the lux rating assigned to your camcorder, where smaller is better, the lens you mount to it comes from a world where bigger is better, as in "the bigger the glass, the bigger the aperture,” which translates to . . . you guessed it . . . a smaller aperture number. That bigger glass with the big aperture and smaller aperture number means larger amounts of light gets in! Confused yet? Well, don’t feel alone, because just a small amount of time spent researching lux will convince you that the people who come up with this stuff are conspiring to confuse us all! Measuring Lux is a Science There’s no need to get bogged down with all that science, unless, of course, you just can’t help yourself. For the rest of us, let’s just be satisfied with “lux is the metric measurement of light falling on a subject” and “1 lux is equivalent to one candle of light at one meter” (about three feet, for the metrically challenged among us). The previous sentence states falling on a subject not reflecting from the subject – an important distinction, in that a dark subject will reflect less light than a light subject. Like us, camcorders see reflected light. So, a camcorder’s sensitivity is rated by the light falling on a subject (lux), not the light reflecting back from that subject. Sometimes values are given in lumens, which measures the light emitting from the light source as measured at varied distances. For example, a standard 100-watt incandescent light bulb will put out about 1500-1700 lumens at three meters. This bulb radiates (approximately) equal amounts of light in all directions; we say approximately, because the mounting fixture gets in the way and blocks some of the light. A standard 60-LED video light using 60 good-quality LEDs has an output of about 850 lumens at one meter. This light is projected at a limited angle of about 45 degrees. Two 28-watt T5 fluorescent light bulbs put out about 5800 lumens at one meter, which would spread to about a 90-degree angle, and a 1500-watt T3 quartz light has about 11,000 lumens at one meter, again approximately in all directions. So, lumen is the amount of light leaving the light fixture, and lux is the amount of light reaching the subject. 100 lumens emitting from the light source as measured at a distance of one meter is also 100 lux reaching Contributing Editor Kyle Cassidy is a visual artist who exhibits regularly and has written books on technology and photographic art. contents FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14559 in the subject line. Typical lux values in a variety of scenes (from left): twilight = about 10 lux; twilight plus some street lighting = about 20 lux; campfire = about 100 lux; well-lit office = about 500-700 lux; direct sunlight = about 100,000 lux. V I D E O M A K E R > > > ApR Il 2 0 1 0 53 full screen print Lighting All cameras record scenes in the same light differently. A high-end camera (left) shows detail in the subject and background, while the image on the right shot with a low-end camera in the exact natural light setting is muddy and some-what grainy, so you're comparing apples to oranges when trying to compare lux levels. the subject at a distance of one meter. They are essentially the same values. As for the lens, well, that’s easy. The bigger the glass, the bigger the aperture, which really means the smaller the aperture number, which lets in more light, which, of course, costs more money. So what does it all mean? Well, I guess the best way to describe it is “the more you spend, the more you get,” and it doesn’t take a rocket scientist to figure that out! Finding Your Right Lux Level contents full screen print Ok, so now that we’re experts on lux, what can we do with all that knowledge? You can go shop for a video camera, of course. And what’s more fun than shopping with a wallet full of cash and a brain full of powerful information? We are going to make the most of our quest by unleashing our great knowledge carefully. We want the most value for the money. One way to measure value in camcorders is the way they perform in low-light conditions, whether an evening soccer game or the family singing around the campfire. Camera companies express the low-light performance of their camcorders in terms of lux. A camera with a 1-lux rating can theoretically produce a usable image with 1 lux of ambient light falling on a subject. The distance of the light source doesn’t matter, because that 1 lux is measured at the subject. But there are so many variables that you really must understand exactly what the conditions were in that theoretical situation. Was the camera lens set 54 Projects that Pay april 2010 at its widest setting where it has the largest aperture? Was the gain on the camera set to maximum where the S/N (signal-to-noise) ratio is highest? Was the shutter speed set lower? A few years ago, you had to consider these questions and more, because there were many ways to boost the published performance of video cameras, and each manufacturer had its own standards. Fortunately, today most cameras are capable of delivering acceptable results in less-than-perfect conditions, but, if you are truly after exceptional results, then how a camcorder is tested is relevant to how it truly performs. In the Real Lux World Night time with a crescent moon is about 0.1 lux. Pretty dark. Full moonlight on a clear night ranges from about 0.5 lux to about 1 lux, depending on location. Therefore, if your camcorder is rated at 1 lux, you can tape a scene in moonlight, but it would be pretty grainy. If you’re lucky enough to witness an alien landing at twilight, you’ll find yourself taping at about 10 lux. Add some street lighting, and you’ll get about 10 more lux, for a total of 20 lux. Enough to make a grainy documentary on your sightings! If you're taping a campfire scene, your subjects will be wrapped in a nice warm light of about 100 lux. The typical incandescent living room is bathed in about 300-400 lux. Perfect for your family and the occasional ghost visit, but not enough for the average camcorder to deliver its best quality. A well-lit office will get you 500700 lux – closer to enough light, but not VIDEOMAKER >>> A pRI l 2010 optimal. TV studios are lit to about 1000 lux. For a soccer game on a dark stormy day, you'll get somewhere between 100 lux and 1000 lux. Daylight in shade will provide about 10,000 lux, and direct sunlight will give you about 100,000 lux. Here's where you'll find your camcorder performs at its best. As you can see by these numbers, especially daylight in shade (10,000 lux) to sunlight (100,000 lux), it’s not a linear scale (thanks, Mr./Ms. Physicist!). But once you become familiar with the above examples, it’s quite easy to estimate just how much light is available in each situation. Do I Need to Know All This? You may ask, “Why do I care about all these numbers and values? I just want to know how well my camcorder will perform in dark light.” Contrary to what the manufacturers would lead you to believe, it’s not all about the camera! It’s about lighting and making good videos. You can use the above information to estimate how much light you need to shoot nice video. So, if you are expected to make a broadcast-quality video in a typical living room, you can expect to shoot under 300400 lux, which isn’t enough to make the grade, but is certainly enough for taping family events. But knowing the light in that room is below 300-400 lux tells you what results you can expect if you choose not to use extra lighting. So when you’re looking at the lux rating of your camcorder, remember it’s all about light and your camcorder's ability to gather light. A super-low lux rating of 1 lux is a great tool for understanding the light-gathering capabilities of a camcorder, but shooting in an environment of 1 lux isn’t practical in the real world. Terry O’Rourke specializes in retail advertising photography and videography for clients worldwide. F E E D BaC k For comments on this article, email us at editor@videomaker.com, use article #14581 in the subject line. TV vs. Web Advertising by J. Michael Long Can you still make money in advertising? Yes, but maybe not in the way you might think. The potential for video advertising is unlimited. Here are some ideas to get started. In the past, all the video media you watched came from a network or your local TV station. It trickled down from the big production houses to your little television set. Then came camcorders. This one invention set into motion a change in what we watch and where it comes from. Until recent years, camcorders have been home moviemaking tools. But with the introduction of the internet, fast software and powerful computers, the direction of video has changed. Now you are just as likely to watch a television show that trickled up to a network or TV station! Commercial Opportunity The way we watch television hasn’t changed. We still “veg out” on the couch and flip channels. But the choices are plenty, and much of that never saw the inside of a network or major production facility. Today your favorite program could easily be coming from the kid down the street or a small company whose primary income is derived from wedding videos or event production. As more and more internet video is making its way to the television set, we now have alternate methods to get the programs we want to watch, rather than waiting to see what the networks will dole out for us. These new venues have opened up a plethora of opportunities to create great video and get it distributed to viewers! Unfortunately, just because you can do something doesn’t mean you know how, or that you should. With all of the new ways to watch video, one thing has not changed, and that is how we pay for it. Commercials are, and probably forever will be, the main way programs draw revenue. Selling advertising sells the production; it pays for what we watch. With more venues feeding a variety of different programming, there is a once could charge enormous fees are now competing with you! There are no set standards in pricing. You can charge whatever the market will bear. If you charge a few hundred dollars, that means some production company or station is out thousands, as it is you who can make something as good or better than they can. At least you have the tools to do so. NETWORKS THAT ONCE Selling the Product one advantage the huge compaCOULD CHARGE ENORMOUS The nies still have is experience and marFEES ARE NOW COMPETING keting knowledge. They have a larger budget and higher expectations. After WITH YOU! all, they have been at this game much growing need for better commercial production. More and more event videographers are venturing out and adding advertising to their list of services. This includes local ads for websites and spots targeted to air on larger distribution systems, including networks. These opportunities have opened a huge hole ready to be filled by videographers like yourself. It has also created a flux in the market. Television stations and networks that V I D E O M A K E R > > > Ap R Il 2 0 1 0 longer than you have. However, it doesn’t matter if a few hundred or a few hundred thousand is spent on a commercial, it must accomplish one ultimate goal: sell the product. The networks do not have a monopoly on creativity and style. You are just as likely to make a great commercial as they are, and this evens the playing field. The way a commercial is made will differ from other productions you may be used to, and these differences will determine the effective- 55 contents full screen print PROJECTS THAT PAY Projects that Pay APRIL 2010 april 2010 advertising index ABE’s Of Maine |__________________ 17 ness of the outcome. Here are some tips to help you create a great spot that will sell a product. To begin, you must ask yourself where the commercial will be seen. If it is only for the internet, broadcast rules may not apply. However, the internet has its own needs. If you are producing a spot for a website, duration may not be a factor. It can be as A video ad on TV will be different from on the web. Broadcast rules don’t apply, but the internet has its own rules. long as necessary to communicate the message, given it will hold the viewer’s attention. However, if you intend to broadcast the commercial within a TVstyle program, then the standard 30-, 60- and 90-second formats will apply. This means you have to shoot and edit to fit these restrictions. You will want to grab the viewer’s attention quickly and hold it throughout the commercial. TV vs. Web Ads LENGTH O F COMMERCIAL: TV: Duration must be exact: 30, 60 or 90 seconds. TIP: Never go right up to the exact second; leave room for fade to black. Actually, length is often :29:15 (29 seconds, 15 frames) or :59:15. WEB: Length can vary. TIP: Know your audience. Web viewers have a short attention span. FONTS and STYLE: TV: Various sizes and styles of fonts are OK, as are patterns and busy backgrounds. WEB: Avoid tiny fonts or fancy cursive style, as they are harder to read on the smaller screen. Use simple, single-color backgrounds or blurred backgrounds. SUBJECT SIZE: TV: Anything goes, as long as the viewer understands what’s going on. Wide angles and sweeping vistas are lovely on a widescreen HD TV. WEB: Have the subject’s image fill the screen as much as possible. Wide shots can get lost and muddy. contents full screen print Web Advertising is Different Avoid thin or tiny fonts. Small fonts may be readable on a 52-inch plasma, but, on the internet, the fonts should be big and bold. If you know your program will be viewed from across the room, you have some flexibility with fonts. On the net, the screen is usually small, so determine your font size based on the most likely way it will be viewed. Big is always better. Also keep the text to a minimum. Avoid scrolling text and long sentences; the viewer should be able to read it quickly and with ease. You do not want your commercial to be too “busy” visually. Avoid patterns and complex backgrounds. You want the subject of the shot to stand out without anything to draw the viewer’s eyes away from the product or action. Plain white backgrounds or fluid abstracts are good for talking heads. For action, bring the subject into clear focus and blur the background. If the commercial will be displayed on the internet, this will help the frame rate and streaming clarity of the spot as well. Keep It Simple For broadcast, wide angles and vistas will look great on larger television sets. On the internet, details can be CUTS and DISSOLVES: lost, so shoot mostly medium and TV: Fast cuts, fast action and various dissolves, wipes and fly-in effects are OK. WEB: Quick cuts can get jumbled. Shoot longer, smoother shots. Effects can break up between transitions. closeups. If you do need a wide shot, keep it short and sweet. However, AUDIO: keep in mind that quick cutting on TV: Your viewer will be controlling the audio with his remote, so make the most important part of the mes- television can look good, but on a sage clear, like the vocals, and monitor the music so it doesn’t overpower the voice track. Sound effects smaller screen, it can appear jumbled. are OK. This is where you need to balance WEB: Music is OK, but the voiceover is essential. Your viewer might have to jump for the volume control your shot decisions between the time quickly if the sound comes screaming in, and he might mute it or lower it so fast that you lose the next few allowed for the commercial, your seconds of the message. Keep a good volume level across the ad. style and getting the message across. For example, if you have only 30 secFORMAT: onds, you may need to cut quickly. If TV: Hi-res is best; check with the station it will air on whether they prefer interlace or progressive scan. that is the case, then you should shoot WEB: Smaller ratios for various streaming bandwidths. Make several versions at the best quality possible. the scenes long enough and frame them to clearly get the point of the SCREEN SIZE: shot across. TV: Keep in mind many people still have a 4:3 screen and info along the edges of a 16:9 format might be Use sound to help the visuals pop! lost. Pay attention to the Safe Title Area and keep your titles within this section. Your sound should be loud and clear, WEB: You can use the entire screen; the Safe Title Area isn’t necessary. But keep in mind that, if this is viewed on a different streaming site, like YouTube, they may place a “bug” in the lower right corner, cover- with all voices, music and sound effects accentuated. They should ing part of your video. 56 VIDEOMAKER >>> APRIL 2010 match the visuals and work with the production to communicate the message. Subtle sounds can get lost in a commercial, so pump up the volume on all of your sound! Keep It Legal In situations where the commercial will be seen on both televisions and the internet, shoot for the small screen. It will be appreciated and look even better when it is seen larger. However, shoot to fit the time requirements. Never use copyrighted music or video. This can cause legal issues for you and your client, as well as issues if the commercial goes viral. If you do not have the right or permission to use it, then keep it out of your commercial. The last thing you want is to tell a client his spot has to be pulled because a major artist was not compensated for it. There is far too much royalty-free music and stock footage available to take this risk. Don’t even consider copyrighted materials, even if the client wants it. What Format Do You Need? When finished, you will need to render multiple versions of it in various formats. You will need the highresolution version for broadcast and smaller ratios for various streaming bandwidths. Generate several versions at the best quality possible for each display method. Whether it is SD or HD, keep the ratios correct, such as 4:3 and 16:9 for your target display. Websites will transcode it to a streaming format, so the better the clip, the better coding they will get. Network and broadcast facilities may need specific formats or even the spot on tape. Find out ahead of time what they need, and be prepared to deliver it on whatever media they require. Progressive and interlacing formats will factor in here as well. Ask them what they need and render for that requirement. If they broadcast bottom field first and your clip is top field first, it can cause the final display to be jerky when it is trans-coded or interlaced for broadcast. Adorama |_________________________ 9 Video is Everywhere; Ads Can Be, Too! Avid Technology |_________________ C4 Today the line between the internet and television is narrowing. Programs that were once viewed only on computer are making their way to the television set via streaming boxes like Xbox, Roku Netflix Box and other devices. Plus, monitors are now big and wide with the ability to stream and display internet video with much more clarity. Fewer sites are streaming tiny 320x240 images, YouTube can display full 1080p if you have the connection to view it. This is a SHOOT FOR THE SMALL SCREEN. IT WILL LOOK EVEN BETTER WHEN IT IS SEEN LARGER. wonderful progression for those with fast connections, but remember that most rural areas are still hanging on to dial-up. Portable devices are limited as well, so the smaller screen will probably be with us for some time. Shooting for the smaller screen will be the factor that determines what you shoot, how you shoot it and how you edit it. After you have your production completed, watch it on several different screens and at different sizes. Ask your co-workers and friends to view it too, with an eye toward the message it communicates and how it was visually presented. Keep the basic goal in mind: did it sell the product or service? If you can answer “yes,” then welcome to the wonderful world of television production and advertising! J. Michael Long is an event video producer as well as a special interest documentary producer with 19 years of broadcast experience. FEEDB aCk Azden |___________________________ 39 BC Media Inc. |____________ _______ 49 B&H Photo/Video & Pro Audio |__ 31-33 Blackmagic Design |________________ 7 GlideCam Industries Inc. |__________ 25 Kino Flo |_________________________29 Litepanels |______________________ 49 Studio 1 Productions, Inc |_________ 61 TriLab |__________________________ 25 Video Guys |______________________ 11 Videomaker Digital Downloads |_____ 26 Videomaker eNews |_______________ 61 Videomaker Digital Subscriptions |___ 5 Videomaker Instructional DVDs |_____ 24 Videomaker Merchandise |_________ 40 Videomaker PLUS Members |______ C2 Videomaker Subscription Alert |_____ 45 Videomaker Tips and Tricks DVDs |___ 3 Videomaker Workshops |__________ C3 For comments on this article, email us at editor@videomaker.com, use article #14806 in the subject line. V I D E O M A K E R > > > A p R Il 2 0 1 0 contents full screen print 57 editing Editing Tips for Lower Third Titles by Mar k M o n t g o m e r y Sans Serif Font The best way to identify your Special Spokesperson in your video is by using a lower third byline. Cre- Serif Font ating them is more than just mak- april 2010 Sans serif means without serifs, those tabs that hang on the points of some fonts. It’s best to use sans serif because the serifs can cause a wiggly look on some TVs. ing a title; they identify a brand and style, and they have some specific rules to follow. The lower third title graphic, better known as just the lower third, is an area of the screen that is commonly used to display contextual information, such as a person’s name, a location or some other pertinent information. While the lower third can help to brand a program too, its main objective is to provide additional information to the audience. The lower third is simply text that is usually accompanied with a complementary background graphic and is positioned on the lower third of the viewable area. Sounds easy enough, but lower thirds can be a major headache to make look good. Before we get into aesthetics, we can first take a look at when to use the lower third. Information Overload contents full screen print You should always remember that you’re creating a video and not a novel. That’s rule number one for working with lower thirds. These graphical elements are commonly used to display the names of people who appear on a video program, the name of a location, a name of a song, a title to a piece of artwork, et cetera, et cetera. The truth of the matter is that it is rarely the case that you actually need these elements. Let’s take a look at when to use lower thirds. You’re creating a personal testimony video for a client. The client is the subject of the video. In 58 the opening part of the video she personally introduces herself to the audience. That’s a good way to start a personal testimony. Now, should you create a lower third with her name on it? First, ask yourself again who the audience is. Let’s say it’s local city residents, and the client is running for mayor. What do you THESE GRAPHICAL ELEMENTS ARE COMMONLY USED TO DISPLAY NAMES. think now? Yes! Of course, we’ve got to inform the audience in every way possible about who this person is. In this scenario, it’s just as much about branding as it is informing! What if the situation were different, and the video’s purpose is to warn an audience about the dangers of drug use. Do you add a lower third? I’d say no, if the context is a very personal video. Adding a lower third to this video might give the video a look that is too polished or produced. Additionally, it’s probably not so VIDEOMAKER >>> A pRI l 2010 important that the audience can see the subject’s name. And, instead of applying the lower third, we may use the space to zoom in closer on the subject, making the video more personal. When deciding whether or not to use a lower third, ask yourself if it’s absolutely necessary. Often it’s not, and that time could be better spent not distracting your audience with useless knowledge. How to Make a Good Lower Third Lower thirds are tricky little elements. As a general rule with lower thirds, less is more. Often we see “text only” lower thirds in major productions. Yes, it’s true. If your main objective is to inform, consider using only text. Text is ideally sans serif or at least it has subtle edges. Text that has very small, ornate features will tend to flicker. Also, stay away from fonts that are very thin. Those will flicker too. Helvetica, a favorite font among designers, crosses over nicely in the video world. The color of the font should be thematically appropriate. White is a classic color and, with a drop shadow, it can pop out enough that the words are readable. If you want to take your lower third design to the next level, try adding a background image. Start simple with a solid-color background that is complementary to the text. If you’re creating a web video, solid backgrounds are ideal, because they’re easily compressed and won’t get blocky when played back. The background can extend beyond the viewable area of the screen, as long as you keep it on the lower third. Getting Fancy You can try experimenting with motion and fades with lower thirds. If the information you’re relaying to your audience is important enough to share, why not make the lower third a little bit distracting? Right. Don’t go overboard with this; keep your animations tasteful and within the bounds of the theme/pacing of the video. Fading The lines in the safe title area won’t show on your finished project. They are there to help you stay within the safe area, so your important information isn’t cut off the screen. in and fading out is a very tasteful way to bring in and out a lower third. Give it a try and see what you think. If you’re working on a bigger project that calls for a little more pizzazz than you have with your animation chops, consider looking for a thirdparty solution. There are quite a few from time to time. One very creative approach to titles is to fit them in naturally. A crime movie could start out with a few short clips of the main characters (perhaps bank robbers who are planning a heist) getting their mug shot taken. On the typical board that the criminal holds for the mug shot, replace the processing number with real titles for the movie. Now you have a fun and creative opening to a movie with titles that communicate the exact same information. With these types of approaches, make sure to plan for both titling options. Sometimes when you’re shooting with titles, they are KEEP YOUR ANIMATIONS WITHIN THE BOUNDS AND PACING OF THE THEME. providers of stock lower third animations. One of the well-known sources is iStockphoto.com, where you can search and download a variety of video formats. You have to pay for them, but you can preview the animations in advance from the website. Sound can also have an impact if it fits well with the visual theme. Consider all those military movies that have that electronic beep noise for every character that visually types out onto the screen. This effect helps build upon the theme and adds to the drama. Sounds can be more subtle, like swooshes when a title flies into its position. Or the sound of a pencil scratching on paper as hand-style scripts etch onto the screen. There are so many possibilities when combining text, motion and sound to make a single lower third. With the right combinations, you can add a great deal of impact. Lower Thirds Outside the Box Your titles don’t always have to be so predictable. Think outside the box V I D E O M A K E R > > > A p R Il 2 0 1 0 Fly-in graphic backgrounds for lower thirds can be found on most third-party plug-ins like Digital Juice or Arcsoft. not as readable as you thought they’d be. Have a back-up plan just in case the risky title option doesn’t work out as well as you’d hoped. As you become more familiar with these common graphical elements, remember that they’re all part of the bigger production. Make sure they don’t take center stage or distract the viewer for the wrong reasons. These elements are just playing a supportive role, but that doesn’t mean you can’t make them look the best you can. Contributing columnist Mark Montgomery is a web content specialist and produces instructional videos for a leading web application developer. FEEDBaCk For comments on this article, email us at editor@videomaker.com, use article #14603 in the subject line. 59 contents full screen print audio Audio FCC Laws and Wireless Mics by Ha l R o b e r t s o n How old is your wireless mic sys- jumped into the fray. It was messy and confusing for many – from the officials down to the consumer. Several FCC chairmen oversaw the transition and, finally, it’s done. tem? Are you aware it might be The Bad News So, in 2010, we find ourselves dealing with the new reality of DTV and, overall, it’s worked out fine. However, some of our beloved production equipment is affected by the new digital channels, specifically, wireless microphones that used to live and work in the frequency ranges now occupied by digital television channels. As of February 19, 2009, wireless microphones are not allowed to operate in the 700MHz spectrum at all. That means, if your equipment is older or unable to change channels, you run the risk of serious interference or, worse, a fine for operating in the reassigned frequency ranges. Wireless microphones are considered a secondary usage of the frequency spectrum. In simple terms, that means you’re on your own deemed inoperable, even illegal by new FCC rules? DTV is changing how we can use wireless signals. Wireless systems have been around since the 1980s, and digital television is here to stay, but the fallout still remains. Countless legacy devices became instantly obsolete in February and June of last year, while others are phasing out over time. One device of particular interest to video producers is the wireless microphone. How does wireless audio fit in the world of digital television? Will you have to adapt your production methods to this brave new world? Unfortunately, there’s no simple answer. As they say, we’ve got some good news and some bad news. long run. A system was chosen, and broadcasters were given deadlines for phases in the ramp-up to digital. Deadlines came and went, revisions took place and new orders were issued. Fines were levied, and broadcasters had to think seriously about how to implement this new system. Test systems were put in place in major markets, and a handful of brave broadcasters started pumping digital signals into the air. That’s when things started to get messy. Hospitals reported interference with medical equipment, and many others started experiencing odd problems with their The Back Story The whole digital television thing started in the mid-1990s when the FCC decided that it was time for the United States to end analog television broadcasting and transition to a digital model. Nothing wrong with that, right? As media producers, we live in a digital world, so a move to digital TV should be a benefit – at least in the gear – including wireless microphone users. Over time, the systems were refined, and an actual standard emerged. Equipment manufacturers also began to redesign their devices to conform to the upcoming transition. Then, a new question emerged: what would happen to the frequency spectrum where the old television channels lived for decades? The answer: the spectrum would be auctioned off to the highest bidders and re-purposed for public service, internet access and a variety of other yet-to-be-designed uses. Bidding wars began with all the wireless carriers, and even Google when using a wireless microphone. If you run into interference, it’s up to you to resolve the problem by either returning your system, minimizing working distance or any other solution you can find. In addition, if your wireless system causes interference for anyone else, it’s your responsibility to retune or stop using the equipment. While these rules aren’t much different from the past, the frequency ranges have changed. This makes Obsolete in an Instant In February 2009, two of our local television stations made the switch to digital – and I lost an expensive piece of equipment. I’d owned this particular wireless handheld microphone system for years and used it from time to time. Now, with the digital transmitters on, the only thing coming through is static. It’s an older unit with a fixed frequency, so there’s no way to change channels and I can’t sell it either. Some have suggested I donate it to an overseas ministry or non-profit organization. I’ll have to look into that. In the meantime, it’s gathering dust in the garage. eNews Videomaker eNews is an informationpacked, digital newsletter designed especially for video production enthusiasts. Videomaker eNews presents exclusive stories and advanced previews of articles from the upcoming issue of Videomaker Magazine. eNews also offers news, tips, event information, discounts on Videomaker products and more! Ch. 53 Ch. 54 Ch. 55 Ch. 56 Ch. 57 Ch. 58 informative articles on: • Video Editing Tips & Techniques • Video Community Event Updates Designated for emergency use only Designated for emergency use only full screen print Some of the channels used by wireless systems. The channels designated for emergency use only means your signal might interfere with those used at area hospitals or other emergency-rooms locales. 60 • Audio Video Software Guides • Video Production Ideas • Exclusive Discounts Ch. 60 Ch. 61 Ch. 62 Ch. 63 Ch. 64 Ch. 65 Ch. 66 Ch. 67 Ch. 68 Ch. 69 746 MHz 752MHz 758MHz 764MHz 770MHz 776MHz 782MHz 788MHz 794MHz 800MHz 806MHz Upper 700MHz Band - Channels 60-69 VIDEOMAKER >>> A pRI l 2010 Pro 60 LED Video Light 850+ Lumens 2 Hour Run Time XLR Adapter with Pre-Amp and 48volt Phantom Power Limited Time Offer SD Video Backgrounds Only $49.95 per Volume • Video Camera Reviews Lower 700MHz Band - Channels 52-59 OFF LIMITS FREE Dowload Book on Producing Special Interest Videos • New Product Releases & Ratings Ch. 59 698MHz 704MHz 710MHz 716MHz 722MHz 728MHz 734MHz 740 MHz 746 MHz contents LANC Adapter Cable for Sony Video Cameras Videomaker eNews contains • Digital Video Industry News Ch. 52 april 2010 Don’t miss out! FREE Sign up TODAY! Including Wedding Volumes contents (386) 788-6075 full screen www.videomaker.com/enewsfree V I D E O M A K E R > > > Ap R Il 2 0 1 0 print 61 Classified Network AUDIO audio APRIL 2010 Classified Network April 2010 Music Reach 100% of a Steadily Growing Video-Producing Audience! Black & White Rates 1" 2" 3" 1x $199 $388 $577 3x $187 $365 $542 6x $175 $341 $508 12x $149 $291 $433 1" 2" 3" Non-display $4.48 per word, 20-word minimum. All initials, abbreviations, box numbers, etc. count as words. Orders accepted by mail, e-mail or fax. Credit Card orders accepted. Prepayment required. 1x $252 $493 $733 3x $237 $463 $689 6x $222 $433 $645 12x $189 $369 $550 Closing Deadlines Apr‘10 Issue: May ‘10 Issue: June ‘10 Issue: Jan 20 Feb 24 Mar 24 For more details call or write: Joshua Kidder • jkidder@videomaker.com • Phone: (530) 891-8410 ext. 407 Fax: (530) 891-8443 • P.O. Box 4591, Chico, CA 95927 Business/Film OppOrtunities equipment & AccessOries interference more likely and solutions harder to find. There’s also the issue of the socalled “white space devices.” White spaces are the frequency ranges that fall between the DTV channels and reallocated channels. Several companies are working on new devices that use these white spaces for communication, data transfer and networking. Standards are fuzzy for these new devices, and their impact on wireless users is unknown right now. As a sec- BUYER BEWARE! PAG L95e Battery ONLY $393 List Price High-quality 95 watt-hour V-Mount Li-Ion > Charges on Sony & IDX chargers > Indicates run-time on-load using 5 LED display > Utilises premium grade Li-Ion cells > Beats the Sony BP-GL95 & IDX E10S on price > 18 month warranty www.pagusa.com/L95e A DIVISION OF STE-MAN INC. Email: sales@ste-man.com Call: 818 760 8265 equipment & AccessOries Advertise in classified section contents full screen CONTACT:Joshua Kidder at (530) 891-8410 x 407 print or jkidder@videomaker.com 62 ONLINE INSTANT DOWNLOADS! Music 2 Hues - Royalty Free Music. Over 100 CDs & 1,000 download tracks. Visit our website at: www.music2hues.com Color Rates VIDEOMAKER >>> APRIL 2010 Although all mic manufacturers are working with the frequency changes set down by the FCC, there might be some wireless mics on the market that aren't in compliance. In particular, some knock-off mics from out of the country might be lower in price for a reason: they can't sell them in the U.S. due to their fixed 700MHz spectrum range. Also, with proper care, good mics can last forever, and they last so well that you might find a good number of second-hand older mics on auction sites like eBay. Do your research before you buy low-priced knock-offs or used equipment. You might be putting your money into a hole you can't recover. Many mic manufacturers are offering rebates. If you want to return your old mic and get a new one, check your company's website for more. Just this January, PC World wrote that the FCC is getting tough on errant wireless mic manufacturers, telling them they better "get off" the 700MHz spectrum band, "or else." Read more about that here: videomaker.com/r/393. To find out more on this subject, you can also go to www.videomaker.com/article/14059 for more about the FCC and DTV changes in store for video producers. CSS- ROYALTY FREE MUSIC & SFX. Fastest Downloads on the Web! 11,885 Tracks – 318 CDs. 2 Bulk Download Discount Plans. www.CSSMusic.com You can find a list of local DTV channels and frequency recommendations for your gear at www.shure.com/frequency. ondary user of the frequency spectrum, wireless mic owners may have new issues with interference in the future, and nobody really knows what will happen with white space devices. The Good News We spoke with several wireless microphone manufacturers, and they gave us cause for hope. First, all wireless mics sold today are compliant with the new rules. Older, non-compliant models are discontinued and, for a time, some manufacturers even offered a trade-in program. Rest assured that, if you’ve purchased a new wireless mic system in the past year or so, it’s legal and should work correctly around DTV channels. Second, wireless manufacturers have ongoing programs in place to help refine their products and help users get the most from their equipment. For example, Shure has a list of local DTV channels and frequency recommendations for your gear at www.shure.com/frequency. Third, wireless manufacturers are very involved at all levels of legislation, rulemaking and implementation. They are active as consultants on advisory panels and, when something comes up that impacts their users, they make their voices heard. We’ve seen many wireless microphone systems come and go over the years. To be honest, some were a little embarrassing. However, today’s systems are literally state-of-the-art. They use the latest designs and make it easy for the user to comply with the new DTV rules. The new systems reject noise and interference better than ever. Now, when you invest in a modern wireless mic, you can rest easy knowing that it will be compliant. In the End… Wireless microphone users have always had challenges with their equipment. Reception range and interference are always issues and the new rules don’t really change that. However, there are new signals in the air, and we can’t be cowboys with our equipment any more. The spectrum is getting crowded and, as wireless users, we just have to deal with the new challenges. However, the manufacturers have our back, and the new equipment fits perfectly in the new wireless food chain. If you’re considering a new wireless microphone purchase, relax. Do the research and find the equipment that best suits your production style and budget. Contributing Editor Hal Robertson is a digital media producer and technology consultant. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14614 in the subject line. V I D E O M A K E R > > > ApR Il 2 0 1 0 Re-MasteRing RE-MASTER old, obsolete and damaged video & audio tapes to modern tape/file/ disc formats. Disaster recovery specialists. (800) 852-7732 www.specsbros.com used equipMent “Get In-Sync” New & Used Film & Video Equipment. Go to: www.insyncpubs.com for nationwide listings. Or call: (310) 543-9045 for more information. New & Used Broadcast/Pro Video Equipment KP Pro Video. Buy, Sell & Repair Service. www.kpprovideo.com or sales@kpprovideo.com Call (800) 670-6555 Video MaRketing Promote your or your clients business videos for FREE on www.oseeit.com. Only sponsors pay. Create and manage your own account. FREE and Effective Advertising using the power of sight, sound, motion, emotion and promotion eNews contents Don’t miss out! It's Free! Sign up TODAY! full screen www.videomaker.com/enews print 63 What’s LegaL p r o d u c e r ’s r i g h t s by Mark Levy and Nick Andreadis WORKSHOPS Is YouTube for You? contents full screen print If you watch the news at all, chances are you have seen a YouTube video as part of a news story. For those unaware, YouTube is a video-sharing website owned by Google. Users can upload and share their videos. As it happens, “YouTube video” is somewhat of a misnomer, as YouTube does not create or own the videos on its site. YouTube is simply an online hosting site for a collection of user videos, recorded by thousands of people all over the world. But what happens when one such video gains national attention via TV news outlets? When such a video is on the news, there is usually a credit in the corner of the video acknowledging that the video was found on YouTube. This begs the question, however, “What about the video’s creator? Doesn’t he or she deserve credit?” The answer, according to YouTube, is a simple one: no. In YouTube’s terms of service, which every user must accept before uploading a video, the rules are stated very clearly. “By submitting User Submissions to YouTube, you hereby grant YouTube a worldwide, non-exclusive, royalty-free, sublicenseable and transferable license to use, reproduce, distribute, prepare derivative works of, display, and perform the User Submissions in connection with the YouTube Website.” In layman’s terms, by submitting content to YouTube, you are giving Google permission to use your content however it pleases. It is important to remember that the majority of YouTube’s profits comes from advertising. Therefore, the more exposure YouTube gains, the more money Google will make. To put it in perspective, it currently costs $175,000 a day to advertise on the front page of YouTube. This number can be expected to rise as YouTube becomes even more popular. You can now see why 64 it is imperative that YouTube be able to distribute a user’s content without specific permission by the owner. This necessity for promotion leads us to another interesting phrase in the YouTube terms of service: “You agree not to distribute in any medium any part of the Website, including but not limited to User Submissions (defined below), without YouTube’s prior written authorization.” This states that no one may use any content from YouTube without Google’s permission. This prevents news agencies from using a video hosted on YouTube without obtaining written permission, therefore ensuring that Google always receives credit for YouTube videos. Interestingly enough, YouTube takes care to state in its terms of service that the user who submits the content still “retains all ownership rights to the content.” Legally, there is very little difference between a license owner and a content owner. Therefore, while YouTube does not technically own the user content, it has essentially the same legal rights to the content’s distribution and reproduction as the owners do. However, by allowing the content creator to retain ownership rights, YouTube can avoid liability for the content. The terms of service state, “You shall be solely responsible for your own User Submissions and the consequences of posting or publishing them”. This allows YouTube to reproduce and distribute the content as it sees fit while avoiding liability. There is a fourth section of the terms of service that, while not expressly related to distribution rights, is interesting to note. “The above licenses granted by you in User Videos terminate within a commercially reasonable time after you remove or delete your User Videos from the YouTube website… YouTube may retain, VIDEOMAKER >>> A pRI l 2010 but not display, distribute or perform, server copies of User Submissions that have been removed or deleted.” Essentially, YouTube has the right to keep copies of uploaded videos on its servers forever, even if the user “deletes” them and cancels his account. YouTube may also continue to use the video for a “commercially reasonable” amount of time. This could potentially lead to a user video being used in promotional material for YouTube, even after the creator has deleted it. While some of these terms may seem overbearing, or even an invasion of privacy, they are far from unusual. Veoh and Vimeo, two other popular video-sharing websites, recite almost identical terms of service. While one may be inclined to view this negatively, there are some positives as well. For example, in June 2009, rioting broke out in Iran over presidential elections. Iran has a state-controlled media and did not report the riots. However, due to the proliferation of video-enabled cell phones and YouTube, news agencies all over the world were able to report on this story. It would have been almost impossible to obtain permission from these users before reporting on the story, and, if these terms were not in place, an important event would have gone unnoticed. YouTube and sites like it are becoming more and more a part of mainstream media. Regardless of your individual opinion of them, these terms are here to stay, and you should be aware of them before posting a video or even a comment on YouTube. Attorney Mark Levy specializes in intellectual property law. Nick Andreadis is his legal intern and an Industrial and Systems Engineer at Binghamton University. FEEDBACk For comments on this article, email us at editor@videomaker.com, use article #14680 in the subject line. The Basics of Video Production NEW! Advanced Editing Intensive Lighting Documentary NEW! Production April 23-25, May 21-23 April 23-25, May 21-23 Mar 19-21 Mar 19-21 More popular than ever, our Basic Production workshop takes you from outset to upload as you work in small groups creating a completed video in 3 days. Learn the entire production planning process, using shooting, lighting, and editing skills needed for good story telling techniques. This 3-day, hands on course is for students who understand the basics of video editing and want to advance their skills. Work on a supplied Sony Vaio laptop, using Adobe professional editing software that will take you from the basic skills to some advanced techniques including time remapping, advanced trimming features, multi-camera editing and more. Come join us for an intensive 3-day lighting for video workshop. You will learn the basics of lighting theory and equipment, as well as hands-on practical lighting setups for common video scenes such as interviews, product shots, green screens, outdoor exteriors, and more. This class is designed to help you learn the basics of documentary production during 3 days of lectures, practices and film documentary examples. It takes you from the budgeting and planning stage to production techniques and navigating through the murky waters of distribution. CLASS SIZES ARE SMALL SO SEATING IS LIMITED. REGISTER TODAY! Choose from The Basics of Video Production, Advanced Editing, Intensive Lighting or Documentary Production Choose from The Basics of Video Production, Advanced Editing, Intensive Lighting or Documentary Production. Join the experts of Videomaker magazine for 3 days of intense, comprehensive, entertaining and informational training at the Videomaker National Headquarters in beautiful Chico, California. Network with the staff and other videographers while you master the skills needed to create professional-quality video. TO REGISTER OR GET MORE INFORMATION CALL 800-284-3226 or go to www.events.videomaker.com/2010 Cancellations: Cancellations must be received in writing (faxes acceptable) to Videomaker Customer Service. Notification must be received at least 21 calendar days prior to the workshop start date to receive a full refund (less $20 registration charge). A substitute workshop date may be requested in lieu of a refund. For cancellations received between 21 and 7 calendar days prior to the workshop start date, a 50% refund applies. No cancellations, refunds or substitution dates will be given after 7 calendar days prior to the workshop start date. Videomaker, Inc. reserves the right to cancel a workshop up to 1 month prior to the workshop start date. Mail cancellation/refund requests to: Videomaker Customer Service (Workshop), P.O. Box 4591, Chico, CA 95927-4591. Fax: 530-891-8443, Attn Customer Service. contents full screen print
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