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Showing results for tags 'video'.
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Just a little montage of my hometown set with the tallest man on earth singing. https://www.youtube.com/watch?v=9-3yo6l37Wc this is my youtube channel: https://www.youtube.com/channel/UC0fwLKSw8Ii8Imsi-xetfaw thanks for watching.
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https://www.youtube.com/watch?v=9-3yo6l37Wc This is just a little montage of my town with The Tallest Man on Earth singing Hang Me, Oh Hang Me. This is the rest of my channel: https://www.youtube.com/user/cleanupbigfoot23 Enjoy and thanks for watching.
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LOS ANGELES (September 8, 2015) - Vitec Videocom's Creative Solutions unit today announced it has opened a showroom in Los Angeles to allow industry professionals hands-on experience with products from Paralinx, SmallHD, and Teradek brands. The focus of this new showroom - dubbed Creative Solutions Los Angeles (CSLA) - will be to outfit, educate, and support customers looking for assistance to configure their rigs and learn more about the ways emerging technology can boost their effectiveness on set. Additionally, the CSLA showroom will feature a wide array of products from the Vitec Group's arsenal of film equipment brands. Trying to configure your camera as a handheld rig providing real-time wireless monitoring while simultaneously streaming to the web? The knowledgeable staff at CSLA is available to show you all the various options and inform you of the best gear for the job. The CSLA showroom is housed in the fully re-designed former Paralinx facility located near the I-5 and 134 freeways, at 5329 West San Fernando Road, Los Angeles, CA 90039. In addition to providing expert advice and support, the CSLA location will host a series of educational workshops focusing on different technical aspects of content creation. "The Paralinx team has always prided itself on being deeply embedded in the LA film production community and this new effort--in coordination with the talented teams at Teradek and SmallHD--affirms our dedication to direct interaction with content creators in the busiest production hub on Earth," said Greg Smokler, Co-Founder of Paralinx and General Manager of CSLA. CSLA will be open 9 a.m. to 5 p.m., from Monday through Friday, and invites all interested industry folk to stop by for a look anytime. All those curious to see which new products are being launched from Paralinx, SmallHD, and Teradek at the IBC trade show in Amsterdam (Sep.11-15) are encouraged to attend a special event at CSLA on September 21st. Contact info@shopcreativesolutions.com for more details. -
This simple tutorial will teach you how to use markers to edit to a beat of a song in Adobe Premiere Pro and CC. Please like and subscribe for more tutorials. If you have any questions feel free to ask.
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This quick tutorial will teach you a very simple technique to batch export multiple clips from Adobe Premiere Pro and CC. If you have any questions feel free to ask. -
Hi everybody this is my first time on this website and I thought I would share my first serious beginner film that I put together (sorry for the bad grammar). This was filmed in Tempe Arizona for my company Pointblankperformance, all shot on the Nikon D3100! I filmed with the Glide Gear 23inch slider, ePhotoInc Mini Jib, Polaroid Chest Stabilizer, cheap tripod, Ravelli ATD tripod dolly and the Nikon 50mm f/1.8D lens. There were some slight trouble with the editing software (Adobe After Effects) but I thought it came together alright for a small budget film. I would your guy's feedback for my video! It can be anything, seriously I'm new and I want to learn more! Thanks!
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Hello all. I'm a newbie here and this is my team's story: We love cars, we film cars... that's what we do... That's not just a showreel. That's how we live and breathe cars. That's why we traveled to half away across Europe, looking for thrilling automotive stories behind corporate projects or passionate individuals. Thousands of km, countless flights, more than a dozen European countries and piles of HD media fused to an action packed timeline . This is Manos, Kostas and Orfeas; we each created our own personal path that led us to the three opposite edges of a continent, but these paths are crossing every time we feel the need to tell a new story, to create a new project. This is our story combined, this is Kinisis.... Hope you like it!
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NAB 2015, Booth #C6025 Advanced Battery Safety Technology and Asset Tracking for the Digital Age Added to Latest Releases of Revolutionary Series SHELTON, CT (March 25, 2015) - Anton/Bauer®, a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries, will be showcasing important new additions to its Digital Battery and Performance Charger Series at NAB 2015. Anton/Bauer's ground-breaking Digital Battery Series, first introduced at NAB 2014, redefines the power standard for a new generation of cameras and auxiliary equipment, while the Performance Charger Series exceeds the high-efficiency standards required by today's rigorous shooting schedules. Anton/Bauer's latest innovations in battery safety technology and cloud-based asset tracking will be demonstrated at their exhibit (booth #C6025) at NAB 2015 in Las Vegas, which runs April 13-16. With production safety at the forefront of the industry's agenda, Anton/Bauer has updated its Digital Battery Series with Fuse Link technology, a new connection technology that vendors developed as a result of Tesla Motors' research efforts. Fuse Link technology provides an added protection circuit within each cell pack, prohibiting damage to adjoining cells if a single cell is affected for any reason by severe impact, puncture or thermal runaway. "The safety of our users is the top priority at Anton/Bauer," says Neal Laneville, Product Manager of Mobile Power for the company. "Our Lithium-Ion Digital Batteries are the safest on the market, and they've undergone a rigorous process of research, design and testing to achieve it. We felt the developments in Fuse Link technology were significant enough to include in our design. If there's any incident with one of the cells, Fuse Link reacts like a giant fuse, isolating that single cell from the rest of the pack. We constantly strive to incorporate the latest technology into our batteries so our customers can handle them without any concern for their own safety or that of their team." Anton/Bauer will also be previewing their new Asset Management System (AMS) at NAB 2015. Heralding a new era of digital asset tracking, the cloud-based AMS is a game changer in the area of fleet management. "The cumbersome tasks associated with battery fleet management will soon be a thing of the past," notes Laneville. "Rental houses, broadcast studios, and news affiliates will be able to track the status of their batteries right from their computers." With Anton/Bauer's AMS, an asset's essential information, including remaining run-time, temperature, voltage, and present capacity, will be just a click away. When an Anton/Bauer battery is placed on a Wi-Fi enabled Performance Charger, the AMS will automatically upload its information to a secure, cloud-based server. All pertinent data required for tracking and performance analysis will be available with a simple user log-in and password. "We're looking forward to demonstrating the important features we've added to our Digital Battery and Performance Charger series at NAB," concludes Laneville. "Safety is obviously of the utmost concern, and increased efficiencies are vital to our customers. There are huge developments continuing in Lithium-Ion technology, and we're looking forward to delivering all of those benefits to our customers." The Digital Battery Series includes three battery sizes (90 Wh, 150 Wh, and 190 Wh), all with Anton/Bauer's high-quality cells that deliver a long performance life. The Digital Battery and Performance Charger Series are now available in both Anton/Bauer's signature Gold Mount® and in V-Mount. Anton/Bauer's Asset Management System will be available to the marketplace as a tier-based subscription in the third quarter of 2015. For more information, visit www.antonbauer.com or call (800) 422-3473.
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Hello. I have been making short movies all my life. Went to Pittsburgh filmmakers and shot a couple 3 min long films in 16mm. In 2007 I bought a canon hv20. It's a hdv camcorder that takes the old, small tapes. Anyway, here's my thoughts. The 16mm film I did (the one that turned out well and not grossly overexposed) looked phenomenal to my eyes. I''d/I've never done anything else that looked that good. It was done on Kodak 16mm color neg 200t. I used a bolex from school with ordinary, non zoom lenses. So, ff to 2007. When I took a few videos with hv20, I was floored by the quality. I compared it to the 16mm film I did. The 16mm still looked better, and handled colors better. However, with the hv20, after tinkering with it a while , I've gotten COMPLETELY mixed results. I've learned that if you're shooting on video, everything has to be PERFECT to get the same quality every time. It's almost as if the stars have to be right to remain consistent. I mean, I have lit it well and it looks like crap, and I've lit it poorly and it looks great. Vice-versa. I just got back some 16mm b and w reversal I shot with a bolex. Looks good. however, after comparing it to a few of my "good days" footage with the hv20 (b&w in post), the hv20 clearly stands out. So now I'm shaking my head, confused more than ever. The HDV tapes are exceedingly cheaper than film and do produce excellent image quality... if everything is done absolutely perfect every time. How do I do this? I just don't know what I'm doing wrong to get some things looks great and some things that look like a 1980s videocam.
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Hello! I have just finished a final cut of my new movie and would to color grade it. I heard something about buying a specialised video card for precise video playback (in terms of color reproduction). I found Blackmagic Shuttle as a relatively cheap (200$) option but I am not sure if it will do the trick? Also, one of my colleagues who knows about grading more than myself told me that I should be connecting Blackmagic shuttle to the minitor via S-Video out, not DVI or HDMI as they are not able to reproduce the colours precisely. Do you guys have any suggestions in whether which connection type should I choose for the best color precision? My movie was shot on a Mark III, H.264 in Full HD. I will rent a JVC Broadcast monitor for my Color grading work.
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Hey guys, I'm selling a BLOCK BATTERY POWER SUPPLY from Victory Battery Burbank of California. Some other information you might want to know: OUTPUT 12 Volts DC and 24 Volts DC Output 4-Pin and 3-Pin XLR Output $425 Let me know if you're interested.
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Hello guys, I'm music video clipmaker (beginner). I like k-pop MVs. I want to shoot my MVs like that. I've got Red One MX camera and Zeiss 35mm CP2 superspeed t1.5 lens only. Which lens (mm) do you recomment to buy? (sorry, I don't know english very well)
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Hello everyone! My name is Grant. I'm a cameraman/editor from Russia. I'm 21, and I spent 5 years on learning and practicing in video industry. My dream is to shoot beautiful and interesting adverts/films with people who love it too. Unfortunately I live in Russia, in city where only weddings are popular, and no one need true quality. Of course, I participate in some "Big Moscow projects" but I understood, that the capital is not for me (non professional reasons). And now I decided to find a studio or comp., to work with outside Russia. And it is even doesn't matter where - Europe or USA/Canada. But move to another country without any contacts might be risky I want to ask you about any ways to implement my dream. Thank you for any advice. And have a nice day. -
I currently don't have much knowledge at all regarding video, but am looking to get in to it. I have a very limited budget but will be going to Thailand at the end of the month and hope to get some footage. I know someone selling a Leica V Lux 1 for cheap, it seems to be a good choice. A sample of the type of footage I hope to achieve is linked here: I realize that this is made on film and to achieve that myself will require lots of editing work. I just wanted some opinions on how viable this is with the Leica V Lux, or any other entry level camera. If it isn't, I'm fine to hear it, I just am having trouble finding information. Any advice is much appreciated.
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I am DPing a music video in the near future that will be shot entirely at night in a forest. The concept is to have an industrial yet gothic feeling rave taking place in the forest with numerous people dancing and milling around. We are going for a very abstract and neon look, reminiscent of "Only God Forgives". Saturated colours are important and it's not important to have a sense of realism with moonlight or anything. I am hoping to light the scenes with Arri M18 1800W HMIs and KinoFlo 4 banks as well as various practicals in the form of industrial fluorescent lights and festoon lights. The practicals will be gelled red and yellow and dotted about the clearing. I am planning on rigging the HMIs above the clearing on our tallest stands as the budget doesn't allow for a condor or similar. I am hoping this will give a nice toplight and was wondering what I should be diffusing these with? I will bring in the Kinos with egg crate and diffusion for close ups and may also use small battery powered LED panels for background interest and tight spots. I would just appreciate any general advice or suggestions on this. -
Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan
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Hi Folks: Maybe I posted this in the wrong place. I originally posted this in the visual effects section, and I'm thinking maybe that wasn't right as this isn't a big effect like multilayering or CG animatics. I have a friend who is doing a mockumentary and he wants to use some VHS video that I shot back in the 90's of a 70's party on a single chip consumer VHS camcorder. I want to make it look like VHS from a 70's tube camera and I thought about playing it on a flat screen and shooting it on a tube camera. I did something similar with some digital video and a super 8 camera with Ektachrome and made quasi news film.I thought about doing the same here, but I really want the tube look. I want to see those comet trails on the disco ball.
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I'm looking to take some video shot in the 90's on a VHS camcorder of the era and I want to make it look like it was shot on one of the first single tube home video camera/VHS deck combos, circa 1978-80.
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Hey there! I'm thinking to get few new lights for my "studio" and for now i've used DIY continuous lighting. My principal question is: can i buy 3 strobes for photography and use the modeling light instead of using simple fluorescent lights? I'm asking this because i like both video and photography and i'm searching for a type of lights that i can use in both applications, where i can put umbrellas or softboxes on them. It's worth buying them? what is the temperature of the modeling light? Thanks :)
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Hey Everybody, I'm new to the forum, but I was hoping to get some advice from you guys here. I was asked to light a night for day scene for the web series that I have been gaffing on. This isn't the biggest of problems since it is an interior scene. I've lit this place before, and I've only had to deal with making small windows appear to have sunlight coming in. But in this shoot the main character has a conversation in front of 2 glass doors. It is in a garden level business with the glass doors opening onto a patio area in the front. To top it off, the scene is supposed to take place at dawn. I can think of a couple ways of lighting this, one being more ideal on a visual standpoint but I am not sure if I have the lighting power to pull it off. I'll start with that one. Idea 1. Have 1-2 lights aimed through the windows to give the character his rim light while aiming all other lights on the patio. This would hopefully allow the background to not be totally blown out and it would create a more interesting shot. My biggest concern here is that we will also be able to see the dark buildings across the street. This all depends on the camera angle, but obviously the DP is not going to want to shoot down on the subject to avoid this. Idea 2. Use diffusion on the doors and blast light through them to give them a blown out look. Obviously this will make for a less interesting shot and I don't want this episode to look like a pile of trash as it is Ep. 1 and everything else we've shot has been looking stellar. Idea 3. tell the producers to go **(obscenity removed)** themselves because shooting in the actual morning would look dope as hell and they need to stop being cheap **(obscenity removed)** bastards. Personally I like the third Idea, but the DP and I have essentially already tried this. Any thoughts? I have all tungsten lights. 2 1k's Lowel DP kit with 3x500 w 200w tweenie 2 500w broad lights and a few more random lights the rest of the crew might bring. Hopefully i can get my hands on a couple 1.2 HMI's before this shoot, but it's up in the air. I'd also take Ideas for gelling the lights to make it look more morning like. I believe a more orange look here is pretty common, but i'm open to experimental ideas. Also not sure if it matters for sake of dynamic range, but we will be shooting on the FS 700. -
http://www.youtube.com/watch?v=MABEkqCv2E8
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Up for sale is a Modulus 3000 & Transvideo Hermes. Package is located in EU. Asking 750,- Euro 1 Modulus 3000 Transmitter (Sr# 6055) 1 Modulus Antenna 1 Modulus > GPI-PRO Cable Vid/Pwr 3 var. Modulus Pwr Cable 2 BNC Damper f. Modulus 1 Tansvideo Hermes Receiver (Sr# 1ES0411) 1 Transvideo Hermes Antenna
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THE ULTIMATE VIDEO SEARCH: NOW CALLING ALL YOUTUBER’S: Photographers, Videographers, DP's and “Closet” Artists!!! SUBMIT YOUR ORIGINAL VIDEO for a chance to win $15,000 and NATIONAL EXPOSURE Major Production Company is going viral, and wants to showcase YOUR original videos on our Premiere YouTube channel for maximum exposure. If you have “Never Before Seen Footage/Original Content” that you’re ready to show the world, we’d love to hear from you! We plan on featuring the TOP 350 videos on the site and the best 3 will be rewarded a prize! First place will be awarded $15,000, second $10,000, and third will receive $7,500 at producer’s discretion. Please read rules for details. Are you ready to have your artistic skills showcased on a Premiere YouTube Channel? This is an unprecedented opportunity to get your concepts on a nationwide platform in hopes of promoting your media and to get your content exposed!! Your submission MUST be original content, never posted anywhere online. All entries MUST be original, exclusively created and owned by entrant, and the entrant must have all rights necessary to post the video and submit the entry. Must be submitted by July 15th,2013! Entries submitted MUST be one of the following categories: - Special Effects, Visual Effects, After Effects - Light Painting - Video Art/3D - Graphic Art Videos - Gaming Videos - High-end Animation - Stop Motion - Time Lapse -Magic Tricks For more information on how to submit your 3-5 minute “Never Before Seen Video” please visit: http://desireecasting.com/The_Ultimate_Video_Search OR Email us directly at UltimateVideoSearch@gmail.com -
I'm a student at Karelia -university in Finland. I'm writing my thesis on "How to make digital video look like it was shot on film in the 70's". My thesis aims to answer questions like 'why did movies look the way they did in the 70's', 'why and how does deteriorated film look' and 'how can you achieve that look with modern tools'. I focus on the post-production part. If you could answer one or more of the following questions, I'd be most grateful. Or if you know a book or a website (other than Wikipedia) which deals with these subjects, that could help too. 1. How were the colors of the film altered or enhanced in the 70's? If I understand correctly it was done chemically somehow. Could you alter colors separately or would the alteration affect other colors as well? 2. How has film stock improved from the 70's to this day? 35mm film was used back then and it's used nowadays, so what is different? For example, older movies look softer or blurred compared to movies nowadays. Is this due to film stock getting better, or some other factor? 3. Color fading. I've come to understand that the colors of the film stock fade at a different rate. Cyan fades faster than yellow and yellow fades faster than magenta. Still, I have seen older horror movies that are quite heavily blue tinted. Of course I haven't seen them on film, but on DVD or Blu-ray made from the film. Are there some variables to how the colors fade? 4. Why do older movies have more film grain than newer movies? They are caused by silver particles in the film stock, if I'm correct. Is this due to film stock or camera equipment getting better? -
Hey guys! I just joined this site today and am hoping to learn a lot and connect with a lot of people. Currently I'm 15 and in the 10th grade and have a passion for cinematography and filmmaking. I've been video editing for years but more recently (roughly 1 1/2 years ago) got serious about it. I've started working more with the film aspect of filmmaking this year as I'm now taking an AV Production class at my school and i'm loving it. I've always been working in post but have only more recently starting to do more things with cinematography. So anyways, I was wondering if film school was really worth it? I know quite a lot of things already about cinematography and film production and from this site and others I could learn so much more, without having to go to film school. Many people say that it's a waste of money and unless you're going to film school with very little to no knowledge of filmmaking, then I'd probably agree. But I want to hear from some people on here who have had experience. I'm also starting to make some connections with music video editors/directors and independent cinematographers so I can get help from them as well. I'll also post some of my work from youtube on here when I get the chance and I've recently made a vimeo so I will post it there as well. Thanks and I look forward to connecting with a lot of you!
