What lights do you need?
I have just added a new article which may help you to choose a few lighting bits and pieces to add to you kit. Download it here
"Lighting is at the heart of all photography regardless of the format. It’s about using your camera to tell a story and the way that you, as the storyteller, use light to enhance that story.
Photographers and videographers alike observe natural light and the way it impacts on things. It could be harsh summer sunlight that casts strong overhead shadows, or a ray of warm late afternoon light that rakes across a room after a rain shower. Light, and the way it falls, sets a mood. One challenge for the videographer is to be able to observe these naturally occurring moods and recreate them with artificial lighting."
Follow-up on the workshops
I've completed a month of workshops, travelling around the country with colleague, photographer Nick Rains
. Our thanks go out to everyone who attended, and for the challenging Q&A sessions. Nick and I enjoyed it and we will be back again to run further training in your city. Here are just a few comments about the events:
"The full day event captured the intended audiences attention for the whole time which isn't an easy task"
Kym Meaney, Adelaide
"I thought the workshop was great. It gave me the answers I was looking for and much more"
Phil Cooper, Sydney
I'd happily recommend this to anyone just starting or wanting to expand their knowledge of using DSLR's and film production"
Rich Wainwright, Perth
"Great venue, great speakers - fantastic day!"
Paul Kane, Perth
As a guest speaker at the Exposed Down Under conference held this year in Melbourne, I found lots of guys, largely wedding cinematographers keen for lighting tips.
There is intense interest in large-sensor video cameras and the quality of work on show was stunning. Lemac
Melbourne supplied the lighting kits for the day and are always ready to chip in, so thanks.
Thanks also to Abraham Joffe and Dave Cowling for inviting me to address the event.
Sydney DSLR video workshop
From co-presenter Nick Rains:
Piet de Vries and I did our first Canon video workshop last Tuesday to a full room in the Sydney Masonic Conference Centre on Goulburn Street. We have already had some excellent feedback so it seems we delivered the goods. It's always tricky to know at which level to pitch these sorts of talks so Piet and I decided to assume everyone came from a stills background and set our level accordingly.
I covered the technical stuff (as is my usual style!) and Piet explained the very different thought processes necessary to shoot compelling video - and showed a video of a wedding shot by a collegue that blew everyone away with it's sophisticated editing and shooting style. It was both intimidating and inspiring at the same time.
We still have places for the other four venues, coming up next week and the week after, if you want to find out more about shooting video with your DSLR.
The Sony PMW-F3
The newest camera on Sony's block has been in my hands and on my tripod for a few weeks. Here are some comments.
The first thing that I noticed was that the camera was familiar and after turning it on I understood why. The menu layout is similar to the Sony PMW-EX1 and the EX3. You’d swear that you were looking at those menus and this makes things easy as I’m on familiar ground. Already I'm sensing that this is a "Just Get Out and Do It" kind of camera.
There is abundant information online detailing the technical specs of the camera, however I’m more intrigued by its potential in a range of productions and the possibilities it creates to take my corporate and doco work into a new realm.
Sony suggests that the PMW-F3 is suited to television, commercials, music and promotional budget productions however, based on my two weeks of toying around, I see much more in store.
Let's get the specs out of the way.
- The F3 is based on Sony’s XDCAM EX workflow. The codec is MPEG-2 Long GOP 4:2:0 8 bit, 35 Mbps and uses Sony’s recording format based SxS ExpressCard.
- The Super 35mm CMOS imager delivers appealing shallow depth of field with high sensitivity and low noise levels.
- It offers a wide range of options for creating images, and the ability to edit F3 images seamlessly with material shot on Sony’s F35 by using an HD SDI dual-link output and making external recordings. This is nice given the mature and straight forward nature of the XDCAM workflow.
- The F3 records naively to the on-board SXS cards in 4:2:0 at 35Mb/sec transfer rate.
Before making any consideration of this native spec, look at the images that come from the camera. They have a earthy, organic feel and I would be happy shooting straight to the SxS cards for most of the time, but this camera is up-scalable.
I would consider stepping up to the 4’s and 2’s, recording at 4:2:2 at up to 280Mb/sec using the compact nanoFlash external recorder. The front end of the F3 has the Super 35mm CMOS imager and some excellent lenses all held by a solid PL lens mount and you can’t help but notice this quality in the final production.
The PL-mount of the PMW-F3 can both take PL and zoom lenses and is compatible with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss.
Most cinematographers will appreciate that this camera creates a very new and special category, so when would I shoot with it and what is it actually like to use?
microWAVE microbudget filmmaking event
I will be conducting a session
during this event at the UTS on Saturday afternoon, February 19th. My topic will be on the emergence and use of large-sensor video cameras. This is going to a fantastic day.
Journalism students get some basic video skills
Getting some basic video camera skills was part of the five day course for a group of students of the APM School of Business & Communication at the Australian Film Television and Radio School this week. I've been working with the schools's Open Program.
Two weeks of training for ABC Television
Recently completed running a series of video camera training course at the ABC's Four Corners production unit.
A Back-to-Basics workshop in Hobart
Back from Hobart having run an Australian Film Television and Radio School weekend workshop for eleven Tasmanian video professionals and enthusiasts.
A varied group of video shooters including a team from the University of Tasmania and two ABC television producers, Justin Murphy and Tracey Smith. Surfers and geologists were also represented.
It rained both days and the old sandstone Salamanca Arts Centre was a cosy venue with no shortage of good coffee shops
"Almost every question you've ever pondered is answered, and always with good humour and enough repetition until you get it. And then he followed up some days later with a terrific set of notes. It was the best, most confidence-giving training course I've ever done."
Justin Murphy "Collectors" ABC Television Hobart
A new article is available
Wherever you point your camcorder, you are placing a rectangular frame around a particular part of the scene. You have the choice to record some parts of the scene and to exclude unwanted parts. Choose to include an object or person in the frame and it becomes important to your audience. Leave it out and for your viewers it will never exist.
You become totally responsible for what will be on the screen. The edit begins before the card or tape even leaves the camcorder.
I have added a new article containing my Ten Top Tips
. This artilce was also published in Better Digital Camera Magazine.
A successful DSLR workshop - more are planned
Twelve participants enjoyed Nick Rains
and myself at the Newport Mirage Resort on Sydney's northern beaches last weekend. Great food and sweeping Pittwater views were the backdrop to a weekend of hands-on training on the large-sensor cameras currently doing the rounds.
Those attending the workshop commented that they had a valuable two days, saw lots of gear and mentioned that they had learned more than they had ever expected.
There are more workshop events planned for Sydney and Melbourne and other Australian cities. Nick and myself would like to thank Lemac, Canon, Genus, Panavision, Foto Riesel, Sony and sound recordist James Nowiczewski for their support.
The Kino Kabaret masterclass
I conducted a special Sony Kino Kabaret masterclass this week - a solid way to kick off seven days of fabulous filmmaking for Kino Sydney
Film Festival. Thanks to all of the filmmakers who came along with their great questions.
WHAT IS KINO?
A low-budget filmmaking movement born in Montreal and gone global
WHAT IS KINO SYDNEY?
The Sydney chapter of the Kino movement. Also refers to the monthly screenings
WHAT IS KINO KABARET?
A special edition of Kino where films are made under 48 hours alongside international participants and with the benefit of a Kino Lab
WHO CAN MAKE A FILM?
Anyone. From people who've never made a film before to Oscar-winners
HOW ARE FILMS SELECTED?
They are not. While there is no pre-selection, feel free to act as if there was and make the best film possible. Come have a look at other films first, if you think you've got what it takes then take the plunge. Register to screen a film and that film will be screened, provided it obeys The Rules
New tutorial now ready to download
Photographers and cinematographers alike observe light and the way it influences things. It could be harsh summer sunlight that casts strong overhead shadows, or a ray of warm afternoon light as it rakes across the landscape after a rain shower. Light, and the way it falls, sets a mood.
The challenge for the cinematographer is to be able to see and take advantage of these naturally occurring lighting conditions.
I have added a new tutorial on Using Available Light. This article was published in Better Digital Camera Magazine.
Sony's NEX-VG10: the little video camera with a BIG sensor
UPDATE: Sunday, 12 September 2010
The design of cameras that shoot HD video will not stay trapped in a traditional stills camera body for much longer.
I now have my hands on the only demo model of the new NEX-VG10 and I've been shooting tests this weekend. Aimed squarely at the video enthusiast, the big WOW factor for me so far has been ISO performance at 21+Db Gain and not trailing too far behind, the range of high quality interchangeable lenses, top mic clarity and best of all, it's comfy usable form factor.
With a CMOS sensor that's roughly 19.5 times larger than those used in conventional camcorders, will this model put the cat among the pigeons for video cameras at this level? I'll be posting my impressions soon.
Fitted with a Zeiss 24-70mm f2.8 zoom