Nicole Young shows you how to make global adjustments to your video files in Photoshop.
A most basic tip for still shooters looking to work with video for the first time.
This post sponsored by the Digital SLR Store
I spent some time with my friend Dane Sanders helping him with a workshop down in Newport Beach, CA a few weeks ago. On a totally spur of the moment basis, with no planning, not much gear and no idea what I was doing, I decided to make a little video of the experience so that others might get just a taste of what it was like to hang out with Dane.
The result is this video. I shot it on a Canon EOS 7D with a Canon EF 50mm f1.4
lens mounted on a Red Rock Micro Event. I also used a Zacuto Z-Finder and a Lightpanels MicroPro LED light. I forgot my mic so there’s little audio here.
I edited it all in iMovie HD – yeah I know – but hey, I can’t be expected to be good at everything :)
I suck at Final Cut so I used what I knew.
Don’t concentrate too hard on my filmmaking skills – they’re essentially non-existent. But you may enjoy evaluating the 7D which is also responsible for all the stills.
UPDATE: I forgot to mention that the folks attending this workshop were fantastic and I felt honored to get to hang out with them. They were lovely and amazing people.
(Photo is Copyright Nicole S. Young – All Rights Reserved)
The addition of video to many of the newer DSLRs being released these days is turning some of us into amateur videographers. And, as we all know from watching movies and television, a good soundtrack can really add a lot of depth and emotion, and sometimes even make-or-break the video.
There are some things to keep in mind when adding sound and music to your videos, and one of the biggest considerations (in my opinion) is making sure you are using the music legally and not violating anyone’s copyright. As photographers we usually don’t want people using our images without licensing or permission, and the same goes for audio artists and musicians. Here are some guidelines and tips to keep in mind when working with audio:
- “Buying a song” doesn’t equal “owning a license”. Just because you paid $0.99 on iTunes to download the newest song from U2 doesn’t mean that you have the right to re-distribute and play the song in public. You are only allowed to use purchased songs for personal, noncommercial use, which means you cannot publicly play it online.
- Royalty-free audio. There are several websites that offer inexpensive royalty-free licenses on all types of audio, from sound-effects to full-length songs. This is a good option for those of you looking for more advanced songs and soundtrack and aren’t able to re-create them on your own, but are willing to pay a small price for using the audio and have a lot of flexibility on how to use and distribute it.
- Creative Commons. There are hundreds of websites online that offer audio tracks licensable through “Creative Commons” (here is a good list to get you started). Some of these licenses are free or inexpensive, but it’s important to read the fine print and be sure you are following the guidelines for each specific download (for example, you are usually required to give the original author credit for their music in your video).
- Make your own. Software programs such as Apple’s “Garage Band” make it very easy to create your own music, and you are able to use your audio creations in your videos under a royalty-free license. There are also other programs and loops you can download and piece together to form songs or background music.
Here’s the back story – Gary Hamburgh and I took one side of the park and Juan Pons and Rick Sammon took the other. Without me knowing it, Juan and Rick started this whole “Where’s Scott” thing and it was hilarious. While we’re not in the league of Scott Kelby’s Mean Joe Green Commercial Parody, we did have fun with this and hope you enjoy it. It’s all in fun.
Whether you call it convergence, or hybrid DSLR/video, combo-cams, or VSLRs, there’s no doubt that this space is heating up. I’ve been monitoring it very, very closely. I’ve tested each and every camera that works in this space and I’ve been researching all the companies that provide tools for photographers and filmmakers who are interested in hybrid cameras.
I believe that most of the coverage of convergence we’ve seen so far has come from the perspective of the filmmaking community. The problem with that is, that my research shows there are far, far more still photographers interested in convergence than there are filmmakers. So while all the manufacturers and editors are busy scrambling for mindshare with the filmmakers, the larger audience, still shooters, have been under-served. My goal is to gather enough information on the subject to help the manufacturers see the value of the still photography audience and to provide us with better information and access. Thanks for taking the poll.
This post sponsored by the Digital SLR Store