Everyone is a photographer these days. The advent of affordable DSLRs has put the power of good photography in anyone’s hands that wants it.
And video is not far behind. With DSLRs now taking stunning HD video images, everyone will soon be a videographer.
Thus, we get videos like this. Picked up and posted on The Atlantic’s website, no less.
Stunning images. Beautifully shot (though I hate the shots where the interview is in profile).
And absolutely zero storyline. It’s literally halfway through the video before we even hear anything that could begin a storyline. Even that doesn’t develop.
I have nothing against the guys that put this piece together. They can shoot circles around me. But unless you’re giving me a reason to watch, the video fails in my opinion.
Finding and licensing the right piece(s) of music for a video production is my favorite part of the process… for the first five minutes.
After sorting through 10 pages of audio beds, it quickly becomes my least favorite part. Problem is, it’s one of the more important parts. The wrong piece of audio will kill a great video every time.
The right piece of audio can bring life to a lame production.
I’ve worked with CD libraries, online libraries, and track-by-track licenses.
At this point, my favorite option is audiojungle.net. They have a vast library, and you only pay for what you use. The track licenses are usually around $11, very reasonable. And you feel like you’re helping independent artists along the way.
I recently purchased one of the more affordable camera slider options on the market, the Dot Line DLC 47″ slidler. It arrived just in time for me to take it along on a shoot in rural Nebraska.
It performed very well, and got the job done. The big drawback is finding a way to travel with a 47″ piece of aluminum that doesn’t come with a protective case. If the thing gets dented or bent in any way, it’s useless. That smooth movement you need comes from the aluminum bars being in perfect shape.
So I wrapped it in a cloth backdrop I had laying around, and put it inside a long bag from a light stand. This added an extra bag to travel through the airport with (or check at the ticket counter for $25). I’m glad I took it, but the experience left me thinking —there has to be a more portable solution. I’m not creating Hollywood productions, after all.
There’s no long rail to haul around, because the “rail” is an inflatable surface a dolly rolls over. It’s practical. It’s portable. It’s just what I need.
The only problem is that the Kickstarter campaign is now over, so I’ll have to wait until they become available to the public.
Still, there’s hope for not hauling a four-foot aluminum rail through airport security again.
I’ve experienced some stuttering playback issues inside Premiere Pro for a while now.
Ever since I started using my new Nikon D7000, as a matter of fact.
When playing my D7000 footage inside PP, the audio plays fine but the video playback becomes choppy after a few seconds of play.
I put up with it for a while.
But while editing my latest project, it became a real annoyance.
I just attended an Adobe “Tips and Flicks” workshop in DC where I heard over and over again: “With Premiere Pro, it can handle any footage you throw at it! No need to transcode before you edit like you have to do in Final Cut. Just pull your footage in and Premiere Pro can handle it!”
Um, yeah. This footage is nothing strange. And Premiere Pro is acting like a fat kid trying to keep up with a track athlete.
I surfed around on the Adobe help forums. Some other people had posted similar problems. This guy responded to many of those by basically saying “you have a crappy computer or you’re stupid or both.”
Here are some of his replies:
“My experience is that people that complain about choppy playback have either outdated hardware, or are using very esoteric formats, and/or have a system with a lot of crap on it, that seriously gets in the way of editing. You are definitely not in the first category, I don’t know the origin of your clips and the codec used, so you could be in the second category, but most likely you have a polluted system.”
“OE seems most likely. OE is Operator error. You did something wrong. Your computer is setup wrong, your disk configuration is wrong, your source marerial is wrong, your project settings are wrong, your video driver is wrong…”
Totally unhelpful and arrogant. I’d like to kick him in his render engine.
A few more days between my tech guy and Google and I found this little link.
It basically says PP thinks footage from a Nikon D7000 is something other than it is, so it does an awful job of decoding it. Change the extension from .mov to .mpg and it should work fine.
I tried it, and it worked.
On one hand, I’m grateful it worked.
On the other hand, good Lord, Adobe. Are you serious? I have to change the extension on my footage because the “program that can handle any footage you throw at it” thinks my dolphin is porpoise?
I had to check twice to believe this is an official solution from Adobe. It is! And apparently not an issue they felt needed to be fixed in CS5.5.
I want to love you, Adobe. I really really do. But sometimes you make it hard, when that brand new Final Cut Pro X program is smiling at me from my desk drawer.
I’ve made a personal vow to work on improved lighting on future video shoots. Laziness has usually gotten the best of my efforts at lighting in the past. Hauling a camera case, tripod, audio bag, and laptop bag around on shoots has been bad enough; I just couldn’t bring myself to add a light kit bag that dwarfs all the other bags.
The first step (and easiest) is improved lighting in studio shoots. So I brushed up my knowledge on basic three-point lighting techniques (thanks, Vimeo) and spent the better part of a day working on the lighting for an upcoming interview shoot.
While I had two great softbox lights ready to go with built-in dimmers, I had two background lights that didn’t have dimmers. Also, the light I planned on using for my back light did not have a dimmer, either.
So I headed to Lowe’s. After realizing they had no in-line dimmers for sale I did a quick search on my iPhone and found this video.
It saved the day. I put together three lovely in-line dimmers for about $60.
I modified the YouTube plan a little. My version used a heavier duty extension cord, and included a grounding wire for all three. Since the cords were thicker, I couldn’t tie a knot to keep the cords from being pulled out. Instead, I improvised a kind of stopper on the cords using an old mouse pad and some plastic pull ties.
So there you have it. Three dimmers later, I spent a couple of hours setting up my lights. Ready!
The harder job will be lugging around the giant light kit bag on remote shoots.
Maybe I should look into a mobile/travel light kit. After all, I saved a little money on the do-it-yourself dimmers!