People love jib shots! But when is it appropriate to use a jib shot? And how can you maximize the effect of your jib work? The guys at Still Motion have written a great post on when and when not to use a jib in your production. They go over how jibs affect production value and perspective, in both good and bad ways. You can also check out their excellent work in the mini-doc below.
When working with flashes in daylight, it can be tricky to get a natural image from the camera. KesslerU has created an in-depth tutorial on how to achieve a natural look with artificial lighting. We will look at a method that they use to see what the strobes are doing in daylight and help you better control them when the modeling lights are not bright enough to guide you. The key to their technique is subtlety. You may have an urge to crank up your flashes and show off your lighting skills, but that may not get you the best image. In this video Jay Morgan talks about how to work with the sun rather than against it.
Okay, so you’re a recent college grad with some marginally related internship experience working in the creative industry. You know you’ve got what it takes to deliver quality collateral on time, every time–if only the hiring managers at the jobs you applied to would believe in you. This is a common problem for recent graduates with not a whole lot of work experience under their belts and a small portfolio made up of more school related projects than actual projects for actual businesses. You’re talented. You’re eager. You’re hungry. You’re tired of looking for random gigs on Craigslist. What now?
Anything free is a good, especially when it makes your work stand out from the rest! The guys over at Digital Cinema Foundry have generously offered to give-away some free film burns to their loyal audience! Take a look at the video below, if you like what you see, head over to their website to download a few clips for yourself. We’ve begun incorporating some of these effects into our own videos and were very pleased with what we got.
Film Riot is a great resource for filmmakers of any genre, and when they come out with a DIY video we know its worth checking out. This episode teaches you how to create a DIY Steadycam for under $30. While a lot of people will question the quality of such an ambitious creation, we at the ViewFinder appreciate these alternatives that get the job done and save us money. Use this rig under the right conditions and it can definitely be worth the build.
X-Rite has created a test to see if your internal color-correction (as in the squishy stuff inside your head) is properly calibrated. Since 1-12 men and 1-255 women have some form of color deficiency, its worthwhile to see how you rank. The test is pretty simple to do, for each row, the first and last color chips are locked in, and all you have to do is arrange the other color chips so you get a continuous gradient. We got a score of 12!
The first time someone showed me how to color-correct it was a nasty complicated process. So many controls, so many things going wrong, and the only advice I got was “play around with it.” Color-correcting can add tons of production value to your documentary and photography, but most people don’t know where to get started. Well, no need to worry, we’ve assembled three easy color tutorials that take you through the basics.
One of the most common questions we get, and most common mistakes we find, is about interview lighting. Production value on a documentary is hugely important because it helps legitimize your topic and your voice. But a big misstep many filmmakers make is overlooking the lighting of their interviews. Eve Hazelton, Director of Photography for The Underwater Realm goes through the basics of interview lighting.