Sometimes post production is not where the magic happens. Sometimes, the magic is in pre-production.￼
We are a video production company in Atlanta, GA with more than 20 years experience and relentless passion to make your video look the best!
Sometimes post production is not where the magic happens. Sometimes, the magic is in pre-production.￼
Do you shoot? Better be quick. As in 110,000 FPS type of quick.
Milking is key.
If you are going Black Friday shopping this year, please be a decent human being by doing the right thing and turn your phone horizontal to record the fights.￼
On average, businesses publish 18 videos each month. Is yours one of them? If not, you could get left behind by your competitors.
How many FPS does your camera shoot!
This camera can capture photons of light in slow motion 📷
How many of us have thought exactly this?
Have a video budget? See what goes into the production of a $1K, $10K, and $100K ad.
What do YOU shoot in?
Not only does shifting the aspect ratio change the film visually, it changes the whole perspective of the narrative.
I know a lot of people who can relate to this. Perhaps you to understand the pain.
Sometimes it all boils down to this:
Just fix it in post dude...
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Too many in the video side are guilty of this for sure. Learn your trade!
How do you approach your photography? What will "make your shot?" Is it the lens you are using at that second? Is it the choice of lens kits you bring to a given shoot? Is it your mood that day? Does your image change depending on how much time you have or how much help and assistance you have? So much more than training and experience (not discounting training and experience!) go into a photograph. Here is a really nice, well produced point to make us see yet another side of our craft. This applies equally well to video by the way.
A picture is worth a thousand words— but who decides what those pictures mean and what those words are? In this age of cell phone cameras and easy-to-use point-and-shoots, it’s tempting to believe that the lens does all the work and that the truth will...
12 cameras, plus a few GoPros for the Georgia Boy Choir Christmas concert. Videos on YouTube. Love this gig every year. We, as a video community all volunteer time and equipment for this great event. The boys made each of us look and sound great. Thanks lads!
This is some stunning work. You may be familiar with some of this on The Late Show...
At Filmright Video Productions we do our fair share of Chroma-Keying. Our next few posts will hopefully help you make your keys Cleaner, Easier, Faster, and Better.
Here is a great video from some true masters. What best practices, tips, or advice do you have to share? Any Chroma wins or fails? Comment and let us know.
The Cinematographer's best kept secrets Director/Cinematographer Matthew Rosen explains 5 of his tricks and secrets on shooting and compositing chroma keys.
Technology, what can this do when combined with your mad skills?
IBC Amsterdam 2015
artemis Trinity at the Vitec booth
Okay, quick practice tip and a very heady non related but eminently fascinating new photograph...of light.
Here is a situation: you are videotaping a concert for a documentary you are working on. Because your flight to Sydney (London? Hey, it's your fantasy, go for broke!) was late getting in, you don't have time to get a good white balance once inside the venue. Set up and shoot, that's it. Okay, you set the white balance at 3200K while the evil rival video company, who are a bunch of slackers and always show up late, also have no time to WB their camera. They choose to go with auto White Balance. Who will have the best color rendition of this once in a lifetime concert?
Turns out, Auto WB will betray you in this case. If you chose to set at 3200 and be done, you chose correctly. It is easy to see why. As the concert lighting changes from red to blue to yellow to whatever, auto WB tries to compensate by adding in the opposite color (on a color wheel) to "compensate" and make white. You effectively "mute" the color. This works against the lighting director's vision, and against your video. By locking in your WB setting at (in this case) 3200K, you will have video that shows all the color range in full vibrant color true to what the Lighting Director is displaying. Congratulations! Your video looks better.
Now, Lux Vobiscum ("Light with you") Embrace the duality.
Great camera men and women are hard to come by. Looks like the public is more than okay with mediocrity. If a "real" camera operator framed an interview, or chose this lens, (s)he would be out of a job pretty quickly.
The selfie stick back lash may be in full swing, but one Australian television network is hoping the devices are the future of television.
An inexpensive converter kit for the low tech crowd. "Are batteries included?" Why, YES! Yes they are.
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Clearly Steven Spielberg is a legendary director with a style all his own, but compared to other filmmakers with cinematic techniques more -- flashy and pronounced than his (I'm looking at you Wes Anderson), it's easy to be unfamiliar with what gives his films that Spielbergness.
Aaahhhh, that style! Here is a good study of film for film makers and cinephiles to enjoy.
The answer is "4K." What is the question?
This is something all citizens, especially in our industry, should know. Rules vary from state to state. Some police do not know their own laws and will misquote law, citing wiretap laws or other law incorrectly, or apply them improperly. Know the law in your state, but in most cases, here in the USA, it is legal to take video of police.
(We support LEO, and feel even those accused deserve a fare trial just as any one of us would rightfully enjoy, so keep comments civil and upright. It is okay to disagree.)
You have a right to film cops, but certain rules do apply. Learn your rights in 30 seconds.
Great work from our crew, and super good working with Roy, an amazing athlete, really professional to work with, and has such positive and helpful things to say to our upcoming players.
It is time to be aware! "Doc" Roy Halladay talks about how keeping your arm strong through exercising, developing lower body and core strength will reduce the risk of injuries for young players.
See More Videos by Roy at:
This helps one to appreciate the art of animation. It is jus a cube. Would YOU be able to demonstrate such mastery with such simplicity?
Thank you Dean Valez for bringing this to our attention.
12 Basic Principles of Animation: The illusion of life The 12 basic principles of animation were developed by the 'old men' of Walt Disney Studios, amongst them Frank Thomas and Ollie Johnston, durin
My family and I moved from Atlanta, GA where I have been shooting and editing, running video workshops, and teaching at various schools and colleges, in order to start a business. Filmright Video Production has been working on the production and Post production for www.insidebaseball.com which is turning out to be a fantastic resource for players. Well, I am happy to say the site soon goes live, and it is a great one. Offering the best tips, drills, workouts, advice and knowledge from the pros, the website officially goes live on Monday. (You get the scoop here. Yes, you can check it out now. I hope you will take a look and if you feel it can help a young athlete increase his enjoyment of the game and improve his skill level, recommend that he login and give it a try. So THAT is the big news of the day. Well, for us, of the year!
Instructional Courses Tips & Drills Insider Blogs Insider Shop
This was posted on a colleagues wall from Daily KOS. Good info for all!
This has been out for a while, but is still one of my favorites. It is an "Unofficial" c300 video. I think Canon secretly gives the nod and wink to these guys, even though they could not produce this themselves, this video being not quite conservative enough. We have been using the c300 for a while now, and really love the images we are delivering to our clients. They do too!
In early Fall 2011, I shot some footage with a pre-production model of the Canon EOS C300 for one week in NYC. I created an article and a video for Canon based on…
Here is an "Oldie but Goodie" piece. This is so well "poorly" done it amazes me every time I watch it.
Do you need shots of ordinary people doing things? Written, Performed, and Produced By Sergio Cilli Directed By Dylan Osborn Director of Photography Jason O'...
"Si Opus Quadratum vis, angulos praecidere noli..." -
(If you want Square Work, you don't cut corners...)
What items do you keep in your gear bag for those emergency situations? A power bar or two? An emergency $20bill? Spare earbuds? What, outside of the standard gear can't you live without?
So THIS is what happens during commercial break..
Wrote a letter to my great Canon Rep who sent it up to engineering. Fingers crossed for updates. Here is what I asked for. What would you like to see updated about your camera, Canon C300 or otherwise?
I wanted to ask you to consider the following wish list I have for the C-300. I have added to my list:
1) Erase last clip button, or ability to program a sequence of menu steps into a programable button. My current hack is to program erase last clip into my customizable menu, keeping it at the top spot. Then I "park my curser" as it were, at that spot taking advantage of the fact that the C-300 will "remember" where I was at the last menu access. When I need to erase a bad take, I press "menu" which takes me to the user customized menu at the top spot. Then I press "Delete last clip," then when it asks if I am sure I toggle from CANCEL to OK, then press OK, then when the take is erased, I exit out of Menu. Lots of steps for a button that could be pressed once, and another for OK (Safety first!) Look to Sony PMW-EX1 for inspiration!
2) Over/Under crank quick access button or programmable button. I find that for my current work, I constantly switch between regular 30fps to 60fps. It is a multi step drag of a process. I have to first demote the resolution from 1920 to 720, then choose the special shooting function in the menu, then choose the frame rate, and when I am done I need to re choose my 1920X1080 and the rest defaults. I would like to be able to program that whole sequence, or whole setting into a user programmable menu button. If not, can the camera at least remember that I want 60fps? That would be a good default, who uses the same 30fps anyway, and who would use 47fps or 53fps? I get that you have to offer it, but hey, 60 if you normally work in 30P, 48 if you work in 24p. It really is a lot of stepthrough to get to where I need to be.
3) When I review last clip (Not in VTR mode, but from Camera mode) I get no audio. I feel this is just bad design. I realize that Canon wants this to be a Cinema camera, but let's face it, it is also a video camera used in the field. My clients want to review sound as well, and that means rebooting in VTR mode. What a drag. Look to Sony PMW-EX1 for inspiration.
4) I would like to see greater cache recording. I realize that 50 Mbs is a lot of data, and that Sony PMW-EX1 with their 16 seconds only have to deal with 35Mbs, but I still believe it should be possible. I am thankful for my 2 seconds, but 8 or 16 would be much more handy in so many cases.
5) File number identification - I program my file to start FR0001 for FilmRight and the file #0001. Each time I start and stop the camera a new file is created, FR0002, FR0003. The only way for me to know what file I am on seems to be to power down the C300, and reboot in VTR mode. There I can see what file I am on. There are lots of reason I would like to know what file I am currently working with. I suggest it be made available in the Status screen. The Status button is on the Left side of the C300, there are 12 screens available, and the File Number is not on any. Again, look to the PMW-EX1 for inspiration.
6) Time of Day as Time Code. There are so many reasons why this can be a good idea I can't tell you. I also can't do it on the C300. (Of course, I can on the PMW-EX1. Why not add as a feature. Yes, I can set the clock, and I do. But I would love to have clock be the Timecode as well. I will concede if the problem is that I can do over/under crank, and that poses a problem. (Does it?) My current hack is to set the user programmable TC to be the time of day. Unfortunately it gets very messed up if I do overcrank. Is there a solution to my request?
7) Variable contrast to data overlay. This may be difficult, I don't know, but I would love to see the ability to have all my data on the screen in user selectable greyscale from current white, to black, and all grey in between, even if only 4 or 16 greyscale choices, and the ability to vary opacity. How cool would that be?!!! Also, it would be great if the info could also, at user choosing, start out a full opacity, then fade to a user specified setting, say 30% opacity overlay over a user specified time, say over 2-30 seconds at operator option. The info could still be on screen, but would not be so intrusive, yet at the beginning of each shot, full opacity would make it easy for the operator to see what he/she needs to see most easily. I have not heard anyone else ever mention this, so it may not be much in demand, but what a great idea. I like all kinds of data on my screen, and yes, I can toggle between display or not, but this would be pretty handy I think. A step further would be to allow some data to remain at full intensity, say the record light, or the aperture setting, or the audio meters or perhaps the waveform. A user selectable checklist would do the trick. Think about it.
8) The camera could make dinner and fold laundry. Hey, by now it does everything else, why not.
Very happy C-300 owner.
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