Preparing yourself to grow your skill set and utilize it in new ways for potential clients and audiences will likely become a part of our “new normal”
Is 2020 the year that live streaming graduates to the mainstream and beyond? Circumstances seem to be dictating that may come true.
Since we’re still smack in the middle of the great quarantine of 2020, and many of us are heading into month three of little to no paying work, I want to talk about taking it online. As witnessed by a casual browse through... Read more
I wrote about getting the right connections for remote editing. I talked about encoding so I could stream my session live. Last time, I examined the whole concept of latency—how delayed the stream would be when it arrived at a client’s location.
Now the questions are “Did it work?” and “What did I stream?”
Even though I went through various... Read more
In 2017, I purchased the Sound Devices Mix Pre 3, a small mixer/recorder that’s perfect for more video-oriented users who want to record better quality audio as well.
First, a bit of history on my part. I’ve been using equipment from manufacturer Sound Devices for about 10 years. I’m not a full-time location sound mixer; I record sound on many... Read more
Last time, I talked about streaming services’ understanding of low latency. Now it’s my turn.
I usually edit with clients in my suite, so I’m accustomed to near-zero latency (yes near-zero, as there’s latency in displays). But as I thought about latency for a remote edit, I realized I had to be realistic about what I really need. I had to... Read more
Last time, I talked about the importance of handling all the connection details when you edit remotely. It’s up to you to decide if that was the easy part. The next step was to be able to stream my session to my clients who’d be in different locations with different connections and different levels of patience.
Luckily, before this whole environment... Read more
An easy and inexpensive solution to overhead shooting
Finding an inexpensive, small and light way to mount an overhead camera has been a challenge. The methods we’ve used work but are not small, light or inexpensive. Until now.
One of my favorite types of production to light and shoot is tabletop. It’s rare as a DP to have complete lighting, art direction and stage control over a scene unless it’s... Read more
It was fortuitous that I attended the Hollywood Professional Alliance Tech Retreat in Palm Springs in February. Editing in the cloud and remote access were some of the key presentations. The demos were pretty impressive.
But now reality has set in. A lot of the workflows in the cloud require planning, preparation and, in many cases, a Hollywood budget.... Read more
What do you know about the H.265 codec and how to most effectively use it in your production and post workflow?
The Panasonic Lumix DC-S1H is one of the newest generation mirrorless hybrids that utilizes the H.265 codec for internal recording.
Does your current primary camera support H.265 recording? Other than a preset in your camera’s codec/recording options, what do you know about the H.265 codec and how to most effectively use it in your production and... Read more
Last time, I talked about the problem of judder—the stuttering or strobing that occurs when there’s fast movement in a scene. The movement may be caused by fast camera movement or by fast movement of objects in a scene—like vehicles. Judder is even more pronounced as we move to more HDR finishing.
At the Hollywood Professional Association’s... Read more
The most immediate solution to our very human problem of isolating through quarantine seems to be streaming
Does this Zoom webcast interface look familiar to you, especially since quarantine started?
This is my first blog entry since we’ve been stuck in quarantine from the Covid-19 virus. Like all of you, I’ve been feeling the full range of the human experience—fear, uncertainty, boredom and frustration. We’re definitely in unprecedented... Read more