Now that even morning and daytime television are saturated with HD, you know it's arrived. All the clarity and sharpness, however, strikes fear into the hearts of talent. Thanks in part to film grain, viewers don't notice age lines and puffy eyes as much, but with digital and it's all or nothing glory, every line and skin imperfection is aired out for all viewers to see. Some say it's the end of the extreme closeup, and that stars will start putting anti-HD measures in their contracts, but an article at the Hollywood Reporter provides hope. Makeup artists are stepping up their game, utilizing new techniques to literally airbrush away imperfections. I tend to tell my talent that on my tiny HDR-HC1, I've enabled the beautifying filter, and since it's a documentary, they've got nothing to worry about.
Brandon Wirtz and Jake Ludington of XYHD.tv did a thorough test between the quality of HD from the Xbox Live marketplace and from that of a HD DVD by comparing two clips. Surprisingly they concluded that there was no noticeable difference if you don't have a 1080p TV that's been correctly calibrated. This is despite the fact that the Xbox Live WMV encoded video has 720p/1080i and only 6.5 Megabits per second (VBR) compared to a potential of 1080p and 36.55 Megabits per second on HD DVD.
It looks like HD DVD over the internet has potential after all despite the problems with sending such a big file over the internet. Either way high density video is the big thing at the moment and even semi professional producers should think about filming content in HD.
Oh my! Let me begin by saying I love LED lights. They're better on energy, they're better on the environment, they're also tougher and sometimes even lighter. So it is wonderful to hear that somebody created on-camera video lights with LED's.
Vidled offers a range of LED light products that can be attached to your camera with a Flash Shoe adapter (most cameras come with). It comes in a variety of color temperatures in standard and deluxe editions. The deluxe editions come with an internal battery and a battery meter (analog readout with LCD). There are many differences between the two and in some cases the standard will be preferable. Plenty of accessories too.
They also have a video gallery of DVX footage shot in a dark room with only these lights to illuminate. Notice the build-in fader. I am sold, I plan to get one of these puppies.
Apple and B&H are putting together a free event geared toward lighting and editing tomorrow (9/28) in New York City. Look to learn techniques for Final Cut Pro, Logic, Shake, and Motion as well as working with HDV and lighting for green screen shots. This should be an information paked 3-hours for those who attend.
2nd Unit TV is a new site that has hit the ground running. The purpose of this site is to help the independent filmmaker better understand the complexities of High Definition filmmaking and filmmaking in general through the eyes and minds of guest cinematographers, producers, writers, directors and others actively engaged in the HD industry today. By understanding pixel ratios, compression, 1/3", 1/2" and 2/3" lenses, overcranking, undercranking, variable bit rates and a hundred other aspects to HD production, the independent filmmaker will be better equipped to produce quality pieces that the world accepts as professional grade productions.
They have 7 episodes posted, the most current on the subject of Gaffers and Grips. Other episodes include interviews with George Spiro Dibie and Jody Eldred.
Keep an eye on this site because they are a hard working bunch of guys and gals and have some great things planned for the future.
S2010P on-camera light consists of 4 LED lights that can offer to the equivalent of 40W output at 5600k colour temperature. There is onboard dimmer that allows for control of the amount of light. It is compatible with Panasonic DV batteries only and consume about 12W. LED lights tend to last longer than traditional bulb (?) lights, there are also said to be better for the environment. Cost $419 at DVshop.
An Arizona videographer posted 3 video tutorials at
DVblog. The tutorials cover depth of field (you know the film look!), to create hard and soft light and some basics in
cutting. The tutorials are very basic and are clearly meant for the novice filmmaker. All the tutorials feature the
videographer's daughter so it is very home-made, and I mean that in a positive way. I would also suggest to take a look
at DVblog, a place you can submit your films and hopefully be able to promote yourself.
If your miniDV camera cost you less than a thousand bucks, you don't want to be spending four figures an on-camera
light from Frezzi or Litepanels.
You just need something cheap that attaches to your camera and can help you through those moments of darkness.
Camcorders (CE) has a review of a really cheap device, the CameraBright!, which mounts to your tripod mount and
provides a bit of illumination for less than $40. The CameraBright! can also mount to your camera's hotshoe, but
if you have that option, you may want to check out other solutions in the more traditional vein, such as those from Bescor.
The reviewer seems to like the device, but given its design, I'd be worried about heavy shadowing from your camcorder's
body.
Getting a newfangled HDV camera is not the only step to
beautifying your next production. In fact, with the increased resolution of your camera, you now have a new set
of concerns: your set-dressing, makeup, and lighting all have to step up as well. EMediaLive takes a look at a
number of recent development in the lighting world, including LED and fluorescent options. The author skips some
of the more established soft-lighting players, like Kino-Flo and Chimera (both of which I've gotten great results with), but if you're not
sure of your exact needs, you should talk to your local rental house anyway. Try before you buy, or don't buy at
all, if you're only shooting occasionally.
Got an excellent reader submitted link -- Alex Lindsay
talks about all the behind the scene production stuff that goes into making MacBreak podcasts. I subscribe to several of these tech podcasts in iTunes and
these series of videos are some of the most informative. Alex uses the screen as a touchscreen to jot down notes and
point to the various equipment that are in use. Real interesting stuff especially for you Macheads. Recommended
watch.
This DV Info article
talked about some of the shooting techniques used in the film November. What was funny was that I then browsing
this blog and found another mention of November:
"again, I LOVE my Panny - but it looks like shit when blown up…anyone catch NOVEMBER? Even the DVD looks
TERRIBLE." Never heard of the panny (DVX) having any problems with being blown up. If anything I have found the
opposite to be true. Also, has anyone else seen November?
DP Robert Elswit talks about the shooting behind
"Syriana" and "Good Night, and Good Luck." Very interesting article, check it out. What struck me
though was what he said about the shooting in Punch Drunk Love: "The color design for the movie became a white
background for all the costumes of the principal characters— for Adam Sandler’s electric-blue suits and for
Emily Watson’s beautiful off-color gowns in ochres, yellow and pale greens. We painted every single wall in that
movie white. Every single space, every interior and exterior. And there are no saturated colors except the clothes the
characters wear." That goes against everything people usually do in movies, add wallpaper, color the walls because
white backgrounds are harsh. Never noticed that in my previous viewings of the movie, it does work thinking about it.
We all know the basic three lighting technique (see photo), but here are some cool lighting hacks from the "complete eejit's guide to film-making" that will give your production that added je ne se quoi:
Day for night: plop a blue filter in front of your lens and minimize the exposure
Lighting inside a car: bounce a light off a board in the back seat
TV light: Aim a blue light at your actor and fan him w/ a board to create flicker effect
Light Beams: Put smoke machine on low and shine your light through
Fire, Fire: Put an orange gel over your light, aim it at a reflector and shake the reflector so the flickering light falls on your actor
George Clooney is clearly one of the smartest men in Hollywood, this could be the Ronald Reagan of the Democratic Party. Handsome, talented, smart, and extremely political (my kind of liberal). Anyways, he recently directed the movie "Good Night, and Good Luck" on Edward R. Murrow and the CBS news staff during television's first golden age when they had to deal with the McCarthy era. This Millimeter magazine article on the production of the film has some interesting points.
Shooting on Black and White had its problems–"We shot tons of tests in black and white. Our problem was
black-and-white footage is so much more about lighting. The lighting
package alone is literally double — not just the cost, but [the time].
We really wanted to pre-light as much as we could so that we could just
run into a room and shoot, and you can do that on color stock. You
couldn't do that on black and white; you really needed to light the
hell out of it."
But the black-and-white print stock was unforgiving, as well. The lines
on everyone's face looked like the Grand Canyon, according to Clooney,
and a zit on an actor's forehead completely dominated a scene and had
to be digitally erased. They pulled a trick often used in music videos:
They took out all red channels in the color negative, which removes the
lines without looking like a soft lens. On the upside, the DI took no
time at all. Clooney notes, “Since color wasn't an issue, the only
thing we had to do was sometimes use it to lighten one corner of an
area and darken another. We did the color correction (if that's the
word you want to use) in about a day and a half.
American Cinematographer has a 7 page article/ manifesto on all that you need to know about film, analog and digital video color-space. Questions such as why film is different (read: better) from video are answered in a history/ techinical way. A lot of geeky stuff, and I have to admit -- I did not neccessarily understand everything but this is good as it gets in getting any grip on all talk related to the quality of the image. If any of you happen to be a cinematographers, this is a must-read. A must. There are lot of diagrams and images to help you along the way so there is no excuse. (Apologies if I sound like your mom.)
Apple and B&H are putting together a free event geared toward lighting and editing tomorrow (9/28) in New York City. Look to learn techniques for Final Cut Pro, Logic, Shake, and Motion as well as working with HDV and lighting for green screen shots. This should be an information paked 3-hours for those who attend.
2nd Unit TV 
S2010P on-camera light consists of 4 LED lights that can offer to the equivalent of 40W output at 5600k colour temperature. There is onboard dimmer that allows for control of the amount of light. It is compatible with Panasonic DV batteries only and consume about 12W. LED lights tend to last longer than traditional bulb (?) lights, there are also said to be better for the environment. Cost $419 at DVshop.
An Arizona videographer posted 3 video tutorials at
DVblog. The tutorials cover depth of field (you know the film look!), to create hard and soft light and some basics in
cutting. The tutorials are very basic and are clearly meant for the novice filmmaker. All the tutorials feature the
videographer's daughter so it is very home-made, and I mean that in a positive way. I would also suggest to take a look
at DVblog, a place you can submit your films and hopefully be able to promote yourself.
If your miniDV camera cost you less than a thousand bucks, you don't want to be spending four figures an on-camera
light from 
Getting a newfangled HDV camera is not the only step to
beautifying your next production. In fact, with the increased resolution of your camera, you now have a new set
of concerns: your set-dressing, makeup, and lighting all have to step up as well. EMediaLive takes a look at a
number of recent development in the lighting world, including LED and fluorescent options. The author skips some
of the more established soft-lighting players, like 
Got an excellent reader submitted link -- Alex Lindsay
talks about all the behind the scene production stuff that goes into making 
This DV Info 
DP Robert Elswit 
George Clooney is clearly one of the smartest men in Hollywood, this could be the Ronald Reagan of the Democratic Party. Handsome, talented, smart, and extremely political (my kind of liberal). Anyways, he recently directed the movie "Good Night, and Good Luck" on Edward R. Murrow and the CBS news staff during television's first golden age when they had to deal with the McCarthy era. This Millimeter magazine 
American Cinematographer has a 7 page 
