Blimey, my last post was a while ago.. Honestly, since then work has got heavy and much of my time is either spent behind the camera or the screen. One exception was the Manfrotto Pro Backpack50 review, shot by Glen Symes for me where I actually appear in a video!
Some of the things I’ve been up to range from filming quite a few weddings
to filming and editing for a series of videos on health and wellbeing.
On the side, I’ve talked at EEHS about going through uni and starting a business, am preparing for my Manfrotto Tour videography seminar and other bits and bobs.. I’m sure if you follow me on twitter or facebook you’ll have an idea of the things!
Going back a few weeks, my main projects have been the EEBC Health and Wellbeing video series, and an animation on Telecare. This is a predominantly piece to camera series, with additional b-roll shots to add to the videos messages which range from stopping smoking, to eating a healthy and balanced diet. The standard production of information videos ensued, editing down from around 45-50 minutes to a concise 2 minutes providing the relevant facts and summaries on prevention. Editing in Premiere Pro, I used the very good Luma Corrector tool for exposure changes and a simple RGB curves adjustment for the colour temperature.
I find the Luma Corrector better to work with, as by adjusting the Gamma control slightly, it removes the washed grey look to push out the prominent shadows and highlights meaning that it is very simple to correct/match shots; especially as I filmed using daylight as my key.
As per the clients request I have also added subtitles, which I created using the dynamic link into After Effects (noting at this point that if you’re doing several stages of an edit, to duplicate the sequence you are working on before you start the next stage as Premiere and AE require you to save your work for updates to take place, meaning no Ctrl-Z/Command-Z to get back to a timeline with the clips rather than your ‘replace in AE linked composition’).
I was also out photographing flowers for a wedding, for the florist Madeleine Pink a few weeks ago too! Taken on a range of lenses with the Canon 5D mkIII (Tamron 24-70mm, Sigma 70-200mm, Samyang 14, 35, 85mm cine, and Nikkor 50mm).
Since then, I ventured into using Lightroom to edit the photos as well, still learning bits and bobs but found a range of fantastic presets here that create some great looks. I’d appreciate your thoughts on the photos and the looks as well, as it’s mostly stab in the dark/emotive based 😛
A couple of weeks ago I had the pleasure of filming Dan and Kelly’s wedding in Ashford + Foxhills where I met the awesome Ash; a unique wedding photographer! Check out the wedding film here
, and definitely check out Ash’s work over at Ash Darling Photography! Highly recommended by me 😀 and I believe I’ll be working with Ash soon on an up coming wedding, really looking forward to it!
Believe it or not, I have been doing some videography too! In between editing the health and wellbeing videos, and on the pre-production sketches of the telecare animation I spent a couple of afternoons in The Woodland Garden in Bushy Park; one of my favorite places to go to switch off work mode, relax and shoot some video for personal projects. I’ve named this one ‘Waterhouse’, it’s the name of the part of the garden where a balcony looks over a pond with a waterhouse to the left. It poses interesting thoughts to its original function, the bricks and foundations holding strong throughout years of use and bad weather. Virginia Creepers pursue to edge up its sides, gripping on to reach the sunlight through the tree canopy.
The edit is complete, but I am now working on a quirky hipster logo/title animation for the beginning of the video so as soon as it has been animated and comped into the footage I will upload!
The kit I used for the ‘Waterhouse’ video include; Manfrotto 755Cx-3 tripod, Edelkrone Slider+ v2, Canon 5D mkIII, Canon 100mm F/2.8 macro (hence why the shake on the slider is slightly more visible than without IS/OS, but I have used Warp Stabilizer where I can). Tamron 24-70mm, Sigma 70-200mm, Samyang 14, 35, 85mm cine, Nikkor 50mm. After using the Canon macro lens, I have totally decided to purchase the Sigma 105mm F/2.8 OS macro lens; firstly because of future video productions where a small minimum focus distance is necessary (product, people, detail shots), also it has optical stabilization which I found was needed when moving the camera and lens on the slider, and lastly its around £400.. Bargain!
Things I’ve learned so far from doing this kind of work;
- Shoot with a widespread histogram (unless I wish to isolate the subject from shadows behind).
- Lightroom is awesome, try playing with the presets I linked to work on the developer tools.
- Regardless if it has been a long day filming, if you want to talk to someone, always, always, always do it!
- I want a macro lens for intricate detailed shots, as my current range does not let me get close enough to the subject.
- Take some hand held lights for kicks and fills; the venue room where the table decorations were photographed was very dark. With a tripod and a couple of lights I would have had much more control over the lighting composition.
- Dabble in a variety of work types, to keep it interesting and different!
- I need a slider for cinematic moving shots; I have made my choice; not the Edelkrone! There will be a whole blog post on this coming soon.
We’ve been waiting a few months for more info on the Panasonic GH4. It briefly appeared at BVE, and only 8 were shown at The Photography Show. Due to Panasonic UK announcing the launch of the GH4 early from the trade show and professional demand, more people are asking the whats and hows of the GH4’s video capabilities; in regards to 4K.
It is the first consumer DSLR to offer 4K, which is a fantastic leap forward into the future of video production that will inevitably get bigger (Moore’s law). We have seen recent demonstrations of Super Hi-Vision (8K) at the London Olympic games from collaboration between NHK and The BBC, but for the first time have we seen 4K possibilities coming home with us. It is now in reach.
Today, John from JHWF, his son Sam and myself headed down to Park Cameras in Burgess Hill for the Panasonic GH4 demo. Eager to try out the camera, and by that I mean actually get your hands on it and play with it, checking out the range of functions and lenses that can be used (something not so easy at trade shows), it was the perfect opportunity to get a glimpse into the reachable future for us as producers. Even more so for John, as he as already invested!
Adam from Panasonic was on hand to answer our many questions, and to demonstrate the innovative features the camera has to offer, which include continuous auto-focus in video mode, as well as how the 4K is achieved from an MFT sensor, and many more..
First of all, the body is tiny. If you compare the body to that of my Canon 5DmkIII it could easily be half the size; which for run and gun videographers, and to keep discreet is a perfect solution. Not only that, but like the Sony A7, you have a large pixel count/density sensor so regardless of the body size the image result will be incredible.
The sensor offers the two 4K resolution standards; cinema 4K at 4096 x 2160 and UHD 4K at 3840 x 2160 up to 30fps at either 200Mbps (All-intra compression) or at 100Mbps (IPB compression), which is much better in terms of .mov image quality in comparison to the 5D mkIII max 90Mbits at All-Intra compression. Essentially this means that your image is being recorded in a better quality format, giving richer colours, wider dynamic range and more latitude for grading in post. The HD video format is top notch, offering up to 200Mbps in MP4 format, much better than nearly all DSLR’s on the market today.
Due to the MFT sensor, the focal length of the lenses you mount are doubled for the equivalent. For example a 12-35mm F/2.8 is equivalent to 24-70MM f/2.8 ON A Micro Four Thirds sensor. This means that suddenly the size of the lenses you use get greatly reduced, meaning a smaller kit bag and less back ache at the end of the day.
A run and gun kit using the GH4 could include the 12-35mm as mentioned above, and the 14-140mm F/3.5-5.6 is enough to cover your indoor and outdoor shots, and can fit in a small shoulder bag. What more could you ask for?
The dual OLED screens replicate the live sensor beautifully, with such clarity too. Now a live view finder has been implemented into the view finder, you get an incredible 10,000:1 contrast ratio which is extremely high speed, unlike LCD which refresh rate is much slower. No need for a Z-finder anymore! Oh by the way it is touch screen too, and you can focus and take a photo by tapping the area of the screen you would like to focus on!
Another incredible feature was the built in Wi-Fi which can be used to control most of the cameras functions INCLUDING touch sensitive focusing and recording (in 4K) via your Apple of Android device! So, leave your camera set up with the Wi-Fi connected to your device and set up your shot from elsewhere! In the right situation, this feature could be killer, much like the GoPro’s wi-fi function for those awkward and obscure shots!
More professional video features include; zebra bars for setting exposure, center marker for image composition, colour bars and 1KHz tone, synchro scan which is useful for suppressing TV and fluorescent light flicker and a Cinelike gamma curves which can be applied. This would come in handy for productions where heavy grading and LUT’s can be applied.
There is also the YAGH interface, which was not at the demo, but its functionality is to provide a DC-12V power input to the camera and interface, which allows 4:2:2/10 bit recording with XLR inputs, timecode, VU meters, which turns the camera from a pro-videography/cine camera to a full system camera for broadcasting. Adam showed us some setups on his phone from recent Hollywood productions using the GH3.
As you may know, I purchased my 5D mkIII in December, for videography/cinematography. To me, I don’t know if I should feel pissed off that I should have waited for the GH4 to be released so I can future-proof my productions, or whether I should jump in and get another A camera right there and then. But then I thought, I have an incredible camera system right here already, and just because this (yes rather amazing) new resolution has become available, doesn’t mean my potential clients will want it. At the moment the current structure and system for broadcasting 4K in the mainstream media of television is non-existent, until the big change happens which means either updating current HD systems to cope with the greater requirements of 4K, or a completely new 4K network is created, the only channel for viewing will be the internet, or cinema. So, if your deliverables are all for YouTube, then go for it, you have a way to get your work out there in its native resolution already. Otherwise, be prepared to down-scale to 1080 HD for normal playback. This may have fantastic results for you, and keeps the incredible clarity, colour richness and the ‘wow’ factor that 4K is now being renown for.
If you are a current Canon/Nikon or other brand shooter, then the answer to your question is not “You will need to buy new lenses for this camera”. A few manufacturers haave designed and produced many workarounds to lens to mount converters; famously Metabones, but also LensAdaptor are worth checking out if you currently shoot with non-MFT lenses. These adapters fit onto the body and lens and effectively allow the lens to be used with a different lens mount.
To conclude, if I had the money I would happily invest in the Panasonic GH4 and not only for the 4K. The high data rates even for 1080p HD are high enough to be broadcasted which opens up what I can deliver for my clients, the kit is smaller so I get less back ache, the Depth From Defocus system allows continuous auto-focus during video, up to 96fps slow motion recording in 1080p HD, Wi-Fi control. I’d be really interested in testing this camera out in a ‘Great Camera Shootout’ review, so clear up the rest of the questions I have about not only capturing video in 4K, but also to see how the MFT 16Mp sensor holds up against the Canon 5D mk III which with Magic Lantern can record RAW.. We shall see, only the future will tell!
Please bear in mind that I have never captured footage in 4K, or worked with a 4K camera, footage or system. So what knowledge I am basing this on is my university dissertation in implementing 4K programming into the current UK broadcasting industry, copious research into 4K cameras, technology and productions, attending IBC and many other trade shows to understand the up-to-date technology available.
I went on a road trip around London on Saturday night with Glen, Sam, Hayden and Tom. We were passing through Hyde Park as the crowds left after watching the live broadcast of The BBC’s Last Night At The Proms, gutted I missed it as the proms are always awesome, but I did get to capture the mad rush of the public trying to leave Hyde Park at around 23:30!
Today I’ve been working on a video edit that I shot for Bremont Watches a couple of weeks ago; I had the pleasure of shooting a Behind The Scenes of the Bremont Watch Codebreaker launch, at Bletchley Park. Influenced by the cracking the enigma code, the new watch includes pieces of the infamous ‘hut 6’ as well as original punch cards from the Enigma machine. one of the biggest challenge I have as a single shooter is that; the uncertainty of what a client may want in the final edit leads to the excessive capturing of footage! I’ve got so sift through a good 1.5 hours of material and cut it down to 4! It is a challenge, but its just another reason why I do this!
In the mean time, http://youtu.be/8hlocZhNc0M