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by Mary Latvis · Posted
Taking to the skies to capture breathtaking footage has never been easier. Modern drones are not only incredible filmmaking tools they are also becoming more affordable and accessible. Filmmakers looking to take flight will want to find something that can capture cinematic imagery with ease. Fortunately, there are plenty of options available today. Whether you are a first-time content creator,
by Zack Young · Posted
There's nothing like the feeling you get after playing your footage from an arduous day of filming, when you realize that everything you shot looks like your camera stumbled into a rogue washing machine, which then toppled down a comically large mountain range. Nothing like it. Unintentionally shaky footage can make a seemingly successful shoot become the bane of one's career. While there are certain measures one can take to mitigate the shakiness of footage in post, nothing will be as painless as simply stabilizing during production—hence the
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Matt tests out the Tilta Nucleus Autofocus Adapter, showing you how to set it up and demo footage. Stick around until the end to hear Matt's thoughts.
0:00 - Elevator Pitch
0:26 - Today's Camera Setup
1:26 - Adding Lens to Library
6:17 - Autofocus Tests (In Studio & Outdoors)
8:58 - Matt's Thoughts
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by Zack Young · Posted
With cameras outputting increasingly higher resolutions, many creatives are deciding to de-sharpen their images and find new ways to wipe away some of that digital sheen, easing highlight transitions in the process and adding analog warmth to modern video. Kondor Blue’s first entry into the world of softening is their Opaline Diffusion Filter, with a new screw-on offering now available in a variety of sizes and strengths. We
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What is a cinema camera, and how do you rig one out? Doug is covering the basics for those who already have experience with mirrorless or broadcast-style cameras. In order to understand modern digital cine cameras, we'll cover a brief history of their predecessors. After, Doug will breakdown the entire cine rig setup.
0:00 - What We're Covering
0:34 - What is a Cinema Camera?
6:19 - TLDR
9:29 - Trapped in a Cage
14:13 - Am I Seeing Things?
15:22 - You Might Need Glasses
24:22 - Absolute Power
28:14 - Accessories Make the Outfit
31:47 - Did
by Zack Young · Posted
Looking to learn more about the LED volume walls used in the burgeoning field of OSVP (on-set virtual production)? These walls are a key component of the process, serving as true-to-life backgrounds, sets, and locations for OSVP. Volume walls are composed of multiple LED displays (also called cabinets) that are seamlessly joined together to form a custom-size screen on which your background footage and real-time graphics are shown. Here, we’re going over key specs for the most visible component, the displays themselves.
Configuration
The first
by Mary Latvis · Posted
Blending a high-resolution video display with live action, real-time computer graphics, camera tracking, and game engine software to create immersive environments, virtual production is rapidly transforming the face of video production. To streamline your VP or XR (extended reality) stage setup, consider getting a jump start with the help of a turnkey VP package.
LED Nation P1.86mm GOB Video Wall Turnkey Kit for
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Monitors are a critical component for a video production set. Sidney shares what to look for in an on-camera monitor, featuring the SmallHD ULTRA 10 4K Portable Production Monitor.
0:00 - In This Video
0:20 - Size
1:03 - Brightness
1:27 - Color Accuracy
1:58 - Connectivity Options
2:54 - Professional Monitoring Tools
3:40 - Conclusion
Sponsored by
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Join Lotta to learn what sets Insta360's Luna Ultra apart from other gimbal cameras, including its dual Leica lenses, ability to capture up to 8K30fps action footage, and more.
0:00 - Sensor & Leica Lenses
0:35 - Photos & ND Filters
0:52 - Modes
1:05 - LCD Screen & Tracking
1:38 - Battery Life
1:51 - Who Is This Camera For?
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by Roberto Bayde · Posted
Action cameras are one of the best tools to capture everyday life and action adventures. Most cameras feature a universal two-prong adapter that can connect to a multitude of accessories. Here are some of our favorites.
SmallRig Quick Release Chest Strap Mount for Action Cameras
This Chest Strap from SmallRig is an essential for POV filming and can be used to record all types of content, including travel, action, and
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Large format sensors have been making their way across the filmmaking industry, so a need for compatible lenses has arisen. Enter ZEISS's Panoptes 65 lineup of cinema lenses. Join Doug for two video shoots—one in-studio and the other a documentary-style—as he puts the 35mm, 40mm, and 110mm through their paces.
0:00 - Intro
0:28 - Indoor Video Shoot
3:18 - Test Footage (Indoors)
4:19 - Outdoor Video Shoot
5:04 - A Note on Image Quality
7:04 - Demo & Test Footage (Outdoors)
10:00 - Doug's Overall Thoughts
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by Mary Latvis · Posted
Are you looking to learn more about the LED volume walls used in the burgeoning field of OSVP (on-set virtual production)? These walls are a key component of the process, serving as true-to-life backgrounds, and in effect, sets and locations for OSVP. Volume walls are composed of multiple LED displays that are seamlessly joined to form a custom-size screen on which your prerecorded background plates are played back. Here we'll go over the component that stiches together those displays and controls the behavior of your LED volume wall:
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Sidney tests the DZOFilm Arcana anamorphic prime lenses, DZOFilm's most affordable anamorphic lenses for the burgeoning filmmaker.
0:00 - Intro
0:34 - Test Footage
1:40 - Physical Specs
2:23 - Breaking Down the Test Video
2:57 - Creative Potential
3:33 - Flare Test
4:30 - Bokeh Test
5:32 - Who Is This For?
Sponsored by
by Jennifer Hahn · Posted
In a recent Explora article, we went over the basics of media servers for in-camera virtual effects (ICVFX) and virtual production (VP), describing these beefy machines for media playback and distribution to LED processors for LED walls and volumes. A VP media server can be a custom hardware solution or software installed on an off-the-shelf machine, but either type needs to have a
by Zack Young · Posted
Many budding filmmakers have toiled away on the color correction and grading of their first masterpiece, watched it over countless times, hit the export button, pulled it up on a TV, and been shocked. "This looks nothing like I was expecting. The colors! The contrast! The saturation!" Although there's no universal fix for differences in how devices display an image, the most common culprit of these headaches is editing on a computer monitor not designed for video work. These monitors often display video way differently than televisions,