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dv .comdigita lv ideo

Vol. 19 No. 9 | September 2011

The Professional's Guide to HD Tools & Technique

dv .coi eo

INSIDERHETT & LINK:

THE ART OF THE LOCAL

COMMERCIAL

LOW SIZE, HIGH

DEFINITION:TINY HD CAMERAS

IN REVIEW

NIKON D7000

GENARTS SAPPHIRE EDGE

RED GIANT SOFTWARE

MAGIC BULLET SUITE 11

Register online now at www.dvexpo.com

Sept. 20-22

LOOKGOODDEVELOPING AND DEFINING YOURCOLOR MANAGEMENT PROCESS

DV.COM EXCLUSIVEBEHIND THE SCENES OF OK GO'S NEW WEB VIDEO

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The new Universal Bundles from Redrock Micro: affordably priced and infinitely flexible. Each Bundle

enables you to build our most popular HDSLR support rigs, or invent dozens of your own creations.

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septem

ber2011|

opinion

3xx

EDITORIAL

EDITORINCHIEF Cristina [email protected]

MANAGING EDITOR Katie [email protected]

TECHNICAL EDITOR Jay [email protected]

WEB EDITOR Sarv Taghavian,[email protected]

CONTRIBUTING EDITORSJ.R. Bookwalter,James Careless, Chuck Gloman, Buck McNeely,

Carl Mrozek, Oliver Peters, Stefan Sargent, J on Silberg,Ned Soltz, Iain Stasukevich, Joy Zaccaria

ADVERTISING

EAST COAST SALES MANAGER Susan [email protected] 212. 378.0400 Ext. 528

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ART DIRECTOR Annmarie LaScalaPRODUCTION MANAGER Davis White

703. 852. 4615 [email protected]

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AUDIENCE DEVELOPMENT Tracey H. DwyerCIRCULATION MANAGER Kwentin Keenan

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digita l

volume 19number 9

September 2011

Whatare the

best colorcorrection

toolsthat are

accessibleto the

typical videoprofessional?

In keeping with the theme of our DV 101 article

on color correction (page 27)and related

reviews of GenArts Sapphire Edge (page 12)

and Red Giant Software Magic Bullet Suite 11

(page 14)Id like to invite you to an in-depth,day-long seminar at Digital Video Expo on

color correction. Led by DV contributing edi-

tor Oliver Peters, Color Correction Options

takes place Wednesday, Sept. 21, from 9 a.m. to 5 p.m.

Color correction is often the final threshold in finishing your production. Its the

time to correct, polish and even stylize the look of your video. Color correction has

become the defining element of many iconic feature films through the digital inter-

mediate process. But what are the best tools to use that are accessible to the typical

video professional?

Oliver will break down the various options, including standalone desktop applica-tions, such as Apple Color and Blackmagic Design DaVinci Resolve; plug-ins including

Red Giant Magic Bullet Looks and Colorista II; and built-in tools within Apple Final

Cut Pro 7 and Final Cut Pro X, Adobe Premiere Pro and After Effects, and Avid Media

Composer. The session will include an overview of each of these software tools and a

demonstration of how to use them to achieve blockbuster results.

Oliver will also cover edit-to-color grading workflows and discuss how to maximize

the look of different cameras, including RED, ARRI Alexa, Canon EOS 5D and more.

If youre interested in attending, e-mail me and Ill get you a DVreader discount

code that you can use when you register at www.dvexpo.com.

DIGITAL VIDEO EXPO KEYNOTE: JACOB ROSENBERG, CTO,

BANDITO BROTHERS WEDNESDAY, SEPT. 21, 2:30 P.M.

Jacobs Digital Video Expo presentation

Raising the Digital Bar focuses on what you

gain and what you pay for in blood, sweat

and tears by throwing caution to the wind and

embracing new production technologies and

solving their inherent problems in post. Jacobs

talk and interactive Q&A session is free andopen to all show attendees.

A digital technology expert, author and

filmmaker, Jacob has worked as a senior con-

sultant to Adobe Systems Inc., on Adobes digital video software applications. He has

contributed his technical knowledge to a number of feature film projects, including

Superman Returns, Martin Scorseses Rolling Stones documentary Shine A Light,

James Camerons Avatar, and the upcoming independent film LBS. Jacob brings

his extensive experience as filmmaker, author and digital media expert to Bandito

Brothers, a full-service media facility that creates, produces, manages and distributesaudio-visual content.

from the editor

Color and Creativity

dv.com

CONFERENCE PROGRAMBEGINS ON PAGE 23

Jacob Rosenberg (with camera)

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Inside dv.com/Sep2011|volume 19|number 9

dv.com

DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400.

Periodicals postage paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are$39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All

rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital

Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted 2011 by NewBay Media L.L.C. All

rights reserved. POSTMASTER : Send address changes to DV, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses

to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. DV makes every effort to ensure the accuracy of all information published in the magazine;

however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

contents|

septem

ber2011

4

update 6 News & Notes

Nelson shoots conservation doc with Sachtler,Teradek Cube HD Video Encoder, FFV ships

sideKick HD digital video recorder, Company

3 colors action-packed Beastie Boys video,

Blackmagic Design releases free DaVinci

Resolve Lite.

in review 12 GenArts Sapphire Edge

Add a little or a lot with Sapphire Edge presets.

By Ned Soltz

14 Red Giant Software MagicBullet Suite 11

Magic Bullet Suite 11 is a mega-bundle of good.

By Ned Soltz

16 Nuwaste Studios Pocket Light MeterThis app is accurate, sensitive and affordable

(meaning free).

By Jay Holben

18 Nikon D7000

The D7000 is a video camera strong enough to

keep Nikon a contender in the DSLR filmmaker

market.

By Jon Silberg

features 20 Sweet Spot

Rhett McLaughlin and Link Neal perfect the art

of the local commercial on IFCs Commercial

Kings.

By Joy Zaccaria

columns 3 From the Editor

Cristina Clappconsiders color and creativity.

22 Instant Expert

Ned Soltzexamines itsy bitsy HD cameras.

27 DV101

Jay Holbenexplains color correction.

34 Production Diary

Stefan Sargentknows that it can only get worse.

On Our Cover: DVthis month examines options for desk-top color correction, such as (clockwise from upper left) Apple'sFinal Cut Pro 3-Way Color Corrector (p. 27), Blackmagic Design'sDaVinci Resolve Lite (p. 10), GenArts Sapphire Edge (p. 12) andRed Giant Softwares Magic Bullet Suite 11 (p. 14).

20

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B e c a u s e i t m a t t e r s .

Edit with AJA.Professional I/O for your platform and workflow.

www.aja.com

KONA 3G brings the video professional an unparalleled feature set designed to keep you

ahead of the game. Now with a powerful "4K Mode", KONA 3G supports 4K playback on

a Mac in both YCbCr and RGB for the highest quality. Featuring 3G SDI I/O, and true 3D

HDMI 1.4a monitoring support, KONA 3G is a cross-platform solution, giving you the

freedom to work with the software of your choice.

KONA 3G. Now with 4K playout.Multi-format Digital I/O

KONA LHi bridges the gap between

legacy analog devices and the

latest 3G SDI and HDMI

enabled products providing

editing, monitoring and

mastering of professional

quality video in an affordable,

powerful, easy to use cross-platform product.

Compatible with applications like AppleFinal Cut Studio, Adobe CS5 and more.

Find out about our latest Edit products at www.aja.com

KONA LHi

Multi-Format Analog & Digital I/O

Compact and

lightweight, Io Express

brings professional I/O

and full 10-bit broadcast

quality downconversion to your PC or

Mac, with full compatibility for Apple

Final Cut Studio, Avid Media Composer 5.5

and Adobe CS5.

Io Express

Portable Multi-Format I/O

Seamless integration with Apple Final Cut Studio, Adobe CS5, Autodesk

Smoke for Mac and more

Uncompressed Quicktime, and DPX file format support

Broadcast quality hardware based 10-bit up-, down-, and cross-conversion

RED Epic and ARRI Alexa workflow ease with true 2K/4K playback 3D workflow support with discrete left and right eye output

EDIT

NEW

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Cinematographer Peter Nelson

recently completed a short

film profiling the White OakConservation Center, a facility

in Florida dedicated to endan-

gered species conservation,

captive breeding and wildlife

research.

Our assignment was to film some

of the wildlife and center in a doc-umentary style, combining obser-

vational wildlife footage and vrit

footage of the veterinary activities

and interviews with staff members,

explains Nelson.Nelson shot the project on a

Panasonic AG-HPX300 P2 camera.

Camera support was either my

Sachtler Video 18 Plus or my shoul-

der, often switching between the two

in seconds, says Nelson. When you

see a shot in a documentary situation,

you have to respond quickly or miss

it. A good tripod is the little secret

of good shooting and one too oftenoverlooked.

Update|

news&notes|

september2011

mousingaround

6

find us onlinedigital edition:www.myDVmag.com

facebook:www.facebook.com/pages/digital-video-magazine

online:www.dv.com

twitter:www.twitter.com/DVMagazine

>in focus: Teradek Cube HD Video Encoder

dv.com

Company: Teradek What It Is/Does: A miniature camera-top HD video encoder, Cube accepts video from any

camera, compresses it using H.264, and delivers the video over any IP interface, including Ethernet, built-in

Wi-Fi and cellular. Video streams from Cube can go directly to video-enabled devices, including set-top boxes,smartphones, iPads and Web browsers, or to Cube decoders for on-site monitoring. Bottom Line: For live

video productions, users can stream video directly to viewers and devices. Price: Starts at $1,190 Contact:

www.teradek.com

>Michel Gondry and PeterSluszka Create Crystallinefor BjrkDirector Michel Gondry and Hornets

Peter Sluszka collaborated on the

music video for Bjrks Crystalline,

which plays like a low-fi science

fiction movie, with shooting lasers,

growing crystals and hand-drawn

graphics. www.videography.com

>Randall Dark Gets Close Upfor Eddie Willis Glow Video

Director/producer Randall P. Darkcrafted an intimate feel for Eddie

Willis Glow. Lately, it seems that

music videos attempt to tell an unre-

lated story and rarely let you enjoy

the performer singing, says Dark.

I wanted the viewer to have a one-

to-one type of experience with this

song. www.cinematographer.com

Nelson Shoots Conservation Doc with Sachtler

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New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2

SDI, HDMI and analog connections in SD, HD and 2K!

The new DeckLink HD Extreme is the worldsmost advanced capture card! With a hugerange of video and audio connections plusa hardware down converter, and Dual Link4:4:4/4:2:2 3 Gb/s SDI, advanced editing

systems for Microsoft Windows and Apple Mac OS X arenow even more affordable!

Connect to any Deck, Camera or Monitor

DeckLink HD Extreme is the only capture card that featuresDual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PALand S-Video for capture and playback in SD, HD or 2K. Alsoincluded is 2 ch XLR AES/EBU audio and 2 ch balanced XLRanalog audio. Connect to HDCAM SR, HDCAM, DigitalBetacam, Betacam SP, HDV cameras, big-screen TVs and more.

Hardware Down Conversion

If youve ever wanted to monitor in both HD and SD while

you work, then youll love the built in high quality downconverter. Use the Dual Link SDI outputs as a simultaneousHD and SD output, or you can switch back to Dual Link 4:4:4when working in the highest quality RGB workflows. Selectbetween letterbox, anamorphic 16:9 and even center cut 4:3down conversion styles!

Advanced 3 Gb/s SDI Technology

With exciting new 3 Gb/s SDI connections,DeckLink HD Extreme allows twice the SDI datarate of normal HD-SDI, while also connectingto all your HD-SDI and SD-SDI equipment.

Use 3 Gb/s SDI for 2K and edit your latest feature film usingreal time 2048 x 1556 2K resolution capture and playback!

Microsoft Windowsor Apple Mac OS X

DeckLink HD Extreme is fully compatible with Apple Final CutPro, Adobe Premiere Pro, Adobe After Effects, AdobePhotoshop, Fusion and any DirectShow or QuickTimebased software. DeckLink HD Extreme instantly switchesbetween feature film resolution 2K, 1080HD, 720HD, NTSCand PAL for worldwide compatibility.

$995DeckLink HD Extreme

Learn more today atwww.blackmagic-design.com

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news&notes|

september2011

Update digital

videotweets

dv.com

>@SteadiOpFS100, 5D MK II & AF100 Depth

of Field Comparison: http://t.co/

GbzrIhs

>@cristinavaldiviIm not gonna lie... Im kind of

obsessed with this video right now:

http://t.co/nFaHgx7 @Khalid-

Mohtaseb + @JonathanBregel are

awesome.

>@Sonysoftware

Create DVDs and Blu-raydiscs with #VegasPro http://t.

co/79YcTZK

>@Gizmodo10 of the Most Mind-Blowing Slow

Motion Videos Youve Ever Seen

http://t.co/UW4dX4N

>@donaldberubeIn Order to Be Good at Time Lapse,

You Need to Know What Good

Time Lapse Looks Like http://t.co/GDP3oAe @3exposure @rhedpixel

#timelapse #dslr

>@philiphodgettsThe Trivialities and Transcen-

dence of Kickstarter http://tinyurl.

com/3emfl46 Great background

on fan funding site and projects

its funded

>@VisionWranglerDirecting on a Dime: Legendary

Producers Rep John Pierson on

the Current State of Indie Film:

http://bit.ly/nvyEHL

>@colorgradernetDaVinci Resolve 8 - Lite vs. full

version http://bit.ly/rp4zuy

>@SnagFilmsDocumentary vs. Docudrama, do

they need to be true? http://is.gd/p3KsaZ

>@Autodesk_MECheck out all four parts of Grant

Kays video series on #Autodesk

#Smokeonmac for #FinalCutPro

users: http://bit.ly/6SBvVk

>@MyDigitalVisualLike Crazy - The HDSLR Film

That Made It Big http://t.co/

s36zq3a>@indiewireWatch: Raucous Trailer for Festival

Staple Shut Up Little Man! http://

ow.ly/1e5qQq

dv.com most-read features (Direct links at dv.com/Sep2011)

8

FFV Ships

sideKick HDDigital Video

RecorderNow shipping, sideKick HD from

Fast Forward Video (FFV) is astraight-to-edit, camera-mount-

able digital video recorder that

captures video directly from any

HD-SDI or HDMI output at bit

rates up to 220 Mb/s with 4:2:2

sampling and 10-bit resolution in

industry-standard codecs such as

ProRes.

sideKick HD records video onto

standard 2.5-inch hot-swappablesolid-state SATA drives and pro-

vides a 4.3-inch color on-board

confidence monitor that offers

playback options including scrub

and jog. sideKick is available now

for $2,495.

< Evolve DigitalCinema Explores forNat Geo CampaignA four-spot on-air campaign for

National Geographic Channel,shot and edited by Evolve

Digital Cinema/IMG, showcases

individual explorers in their

element.

Captain AmericaAction Shots Captured with Canon 5DCaptain America: The First Avenger used Canons EOS 5D Mark II digital SLR cameras

to capture many of the movies action shots.

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10/36

Postproduction house Company

3 completed dailies and final color

work on the Beastie Boys music

video Dont Play No Game That I

Cant Win (featuring Santigold).

Billed as an action-adventure

spectacular, the video, directed

by Spike Jonze, features the hip-

hop group portrayed by action

figures; the trio is in the middle of

a performance when set upon by

a ruthless band of assassins. The

videos concept is the brainchild

of MCA (Adam Yauch).

Company 3 colorist Tim

Masick worked with director of

photography Wyatt Troll to re-

create the look and feel of semi-

nal 80s action films like First

Blood. This is basically the action

movie you wanted to make when

you were a kid, says Masick.

The videos full of action and

explosions.

BlackmagicDesign ReleasesFree DaVinci

Resolve LiteDaVinci Resolve Lite, a free,reduced-feature version of

DaVinci Resolve that includes

many powerful color correction

features in a downloadable soft-

ware package, is now available

at www.blackmagic-design.com.

Resolve Lite includes all of the processing

of the full DaVinci Resolve, but limits projectsto SD and HD resolutions, two color correction

nodes, a single processing GPU, and a single

RED Rocket card.

Resolve Lite offers high-quality optical resiz-

ing, curve grading, XML import/export, 32-bit float

processing, YRGB image processing, multi-layertimelines, stabilization, window tracking, primary

and secondary color correction, real-time process-

ing, capture and playback with deck control, and

compatibility with third-party control panels.

Update

Company 3 Colors Action-Packed

Beastie Boys Video

dv.com

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Innovation at work.

WASHINGTON, DC

Plan now to attend the East Coasts largest pro video and broadcast expo, held November 29 to

December 1 in the heart of our nations capital. Learn about cutting-edge video technologies andtechniques in a comprehensive conference program produced by the experts at DMDC; get hands-

on with the latest video gear in an exhibit featuring over 120 suppliers, dealers and distributors; and

attend FREE special events and networking opportunities to further your knowledge and career.

For a FREE exhibits pass and/or to view discounted conference options, visit gvexpo.com.

Attention Exhibitors Book your booth now and get in front of thousands of high-level equipment

buyers working in government, broadcast, pro video, corporate media, law enforcement and edu-

cation. Call Jackie Gospodinoff at 212-378-0493; [email protected] for more info.

CONFERENCES: Nov. 29 - Dec. 1 | EXHIBIT HALL: Nov. 30 - Dec. 1

Walter E. Washington Convention Center

www.gvexpo.com

GenArts

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xxx

dv.com

12

BY NED SOLTZ

A good script or compelling docu-

mentary subject is the beginning.Of course, having well composed,

exposed and creatively shot visuals

helps. And dont forget audio. Bad

audio is a surefire way to lose your

viewers. But it is the look that con-

veys the true feel of any piece.

GenArts recently released

Sapphire Edge, a $299 collection of

some 350 customizable looks presets

combined with a one-year subscrip-tion to its new FX Central service.

Now some readers might say, There

are tons of free looks out there on

the Web, and besides, I can create

my own. Both are true. However,

what sets Sapphire Edge apart from

many albeit well constructed home-

brew looks is the Sapphire render

engine. The Sapphire engine is fastand its rendering is precise. It is the

Sapphire core that makes Edge well

worth the price of admission.

Sapphire Edge is available in

FxPlug format for Mac (meaning

Apple Final Cut Pro 7, Motion 3.02

or greater, Final Cut Express 4.0) andSony Vegas Pro for PC. An update

due by the time you read this review

will add FCP X compatibility.

I tested Sapphire Edge on an

Apple Mac Pro running OS X 10.6.8

with an Nvidia Quadro 4000 and

Final Cut Pro 7.0.3. Installation is

straightforward, and it works like

any other effect or transition plug-in.

Select the clip and applythe filter or select the

edit point and apply the

transition. Effects plug-

ins include FilmStyle,

FilmDamage and

TVDamage. Transitions

are Sapphires renowned

lighting effects: DissolveLensFlare,

DissolveGlow and DissolveGlint.Thats where the fun begins.

Click the Presets tab and a separate

screen appears with all of the avail-

able presets for the Edge filter or

transition youve selected. Presets

are searchable by keyword. Clicking

on the preset shows a real-time pre-view of the clip with preset applied.

This feature can be turned off if

desired. In my test system, the built-

in CUDA-aware acceleration of Edge

combined with my Quadro 4000

card to produce smooth previews.

Click Apply and there it is in your

Viewer window. Tweak the sliders

to refine or customize your look or

transition. Its that simple.The software is GPU-

accelerated for Nvidia

CUDA cards, but even if

you dont have a CUDA-

capable card, the engine

is multiprocessor-aware. It

remains to be seen wheth-

er this produces the same advantage

in FCP X, with its ability to use allprocessor cores.

Currently in beta but set to

launch shortly, FX Central provides

continual updates, tutorials, useful

information and customized looks

that can be downloaded. GenArts

has promised to post a new set of

looks each month. Following the

initial one-year complimentary sub-

scription, FX Central costs $99 per

year.

Sapphire Edge provides a simplebut powerful tool to add dramatic

impact to your clips. The available

presets plus those downloadable

from FX Central create virtually lim-

itless possibilities for creative film-

makers. Its powerful render engine

is fast, the architecture is 64-bit, and

it is precise.

A question remains whether buy-

ers of Apples $299 Final Cut Pro Xwould spend another $299 on an

effects package. My answer is simply

that they should. FCP has always

been enhanced through plug-in

packages and standalone plug-ins. I

lament the loss of direct FxPlug sup-

port in FCP X and welcome any plug-

in that works to enhance the creative

juices. Sapphire Edge gives a definiteedge to editors and I heartily recom-

mend it to FCP and to Vegas editors.

Your viewers will admire you for your

choice.dv

gear|

september2011

dv.com

12 In ReviewGenArtsSapphire Edge

PROS:Virtually unlimited choice of

looks. Fast and accurate rendering.

Constant updated looks through FX

Central.

CONS:Some editors find pre-

packaged looks constraining.

Perhaps price sensitivity for FCP X

users.

BOTTOM LINE: Sapphire Edge

gives a definite edge to editors and I

heartily recommend it.

MSRP: Sapphire Edge: $299. FX

Central: First year free with Sapphire

Edge purchase, $99 per year there-

after

ONLINE:www.genarts.com

score

EXCELLENCE

AWARD

Look Inside

Add a little or a lot with Sapphire Edge presets.

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1414

I R iRed Giant Software

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xxx xx

dv.com

14

BY NED SOLTZ

Red Giant Software is taking both

a bundled and unbundled approach

to its latest update of the Magic

Bullet line of plug-ins. The Magic

Bullet Suite consists of nine applica-

tions that can be bought separately

or in the $799 bundle.

The bundle represents

the best buy, since indi-

vidually those packages

would cost more than

$1,500. Included are

Colorista II, Denoiser,

Grinder, Instant HD,

Looks 2, Mojo, Cosmo,

PhotoLooks and Frames.

Weve reviewed Colorista II (DV

September 2010), and I concur withmy colleague Oliver Peters, who

ranked it above other color correc-

tion plug-ins. Within FCP, it is my

go-to color corrector.

I have found Denoiser a bit tem-

peramental in FCP 7 when dealing

with long clips. I made the mistake

of applying Denoiser to a 30-min-

ute point-the-camera-talking-head

clip (I knowits what the client

wanted and I aim to please) and

FCP was simply unable to render

it. It worked fine on small clips, and

that long clip was able

to render in AE CS5. (It

took 10 hours, but it ren-

dered.) The results were

stunning: noise removal

with very minimal soft-

ening of image. Lesson

here is to apply Denoiser

to shorter clips. The bet-

ter lesson, however, is to convince

your client that a 30-minute shot of

a talking head is deadly.Grinder 1.5 is my transcoding

app of choice for DSLR footage.

Granted, some of this workload has

been obviated by FCP X and its

ability to ingest DSLR files. But

there remains a use for Grinder

wherever direct reading of DSLR

and other H.264/AVC files is incon-

venient or impossible.

The two new components of

MB Suite are Cosmo v1 and Looks

v2. Cosmo is one of several digital

makeup apps in the marketplace,

but it stands apart from its com-

petitors by the great amount of

control it offers.

Magic Bullet Looks 2 is the

centerpiece of the suite. Its power

mask parameter allows keyframe-

able masks so you can apply a look

to a specific portion of the image.

Note the presence of scopes as well

as extensive categories of looks.

Apply a basic look and tweak theimage by clicking on a category

at the bottom of the screen and

adjusting its controls. When youre

satisfied, click Finished to return

to the host application.

The principle in Magic Bullet

Looks differs from the preset

notion of Sapphire Edge. In Magic

Bullet Looks 2, you are creating

your own look with extensive tools

not only to preview but also to

monitor technical parameters of

the shot with scopes.

Then add Magic Bullet Mojo to

the stack. Mojo extends the func-

tionality of looks with the ability

to tint, warm, cool, add punch or

bleach bypass an image.

The combination of Colorista II,

Looks 2 and Mojo provides a com-

plete color grading solution within

your NLE. It is for this reason alone

that I would recommend purchasing

the entire package, even if you are

not using the other plug-ins, sincetogether the cost of these three

exceeds the $799 package price.

Once again, Red Giant hits one

out of the park. The bundle repre-

sents excellent value. Colorista II is

my favorite color grading plug-in.

Mojo adds, well, that little bit of

mojoto your shot. Looks 2 is more

intricate and allows for the creation

of your own looks with fine con-

trol. For the best results, I prefer

running these plug-ins within After

Effects. dv

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14 In ReviewRed Giant SoftwareMagic Bullet Suite 11

PROS:Excellent value in suite.

Powerful controls. Plug-ins work

well in combination. Grinder ingests

AVC/H.264 files quickly and converts

to ProRes.

CONS: Steeper learning curve

than preset applications. Seems to

work better in AE than in FCP 7.

BOTTOM LINE: Once again,

Red Giant hits one out of the park.

The bundle represents excellent

value.

MSRP: $799

ONLINE: www.redgiantsoftware.

com

scorePlug-In Power PackMagic Bullet Suite 11 is a mega-bundle of good.

Magic Bullet Looks main window

The combination of Colorista II, Looks 2 and Mojo pro-vides a complete color grading solution within your NLE.

EXCELLENCE

AWARD

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BY JAY HOLBEN

Nuwaste Studios

Pocket Light Meter app

uses the iPhones cam-

era as a spot meter, and

its incredibly accurate.

Comparing readings

with my Sekonic L508C

spot meter, I found the

Pocket Light Meter to be within 1/10th of a

stop every time. Using a gray card, I could

quickly turn the Pocket Light Meter into an

incident meter.

On the setup page, you can set your shutter

speed to indicate full, half or third stops or set it for cine speeds. You canset your aperture and ISO stops into full, halves and thirds as well. Theres

even an option to log your readings to your Dropbox account for future

reference. If the meter is slightly off or if you need to calibrate to a second

meter, theres a simple slider for EV correction factor.

The app works with either the forward or backward camera on the

iPhone (or iPod). A small viewfinder-like image shows you what the cam-

era is seeing and a red open rectangle indicates the reading area. You can

touch the viewfinder area to move the reading area to wherever youd like

if the center isnt what you need to read.

The meter is always reading, so its handy to have a hold button: point

it at the area you want to read, hit hold and then move the phone to look

at the reading information and evaluate your exposure.

I was surprised at the precision of this app. It is a very legitimate, work-

able tool. It's useful on the iPad, but less so as the size of the pad makes

taking readings a little cumbersome. The iPhone or iPod is the perfect

handheld size to make a viable spot meter. dv

dv.com

xxx xx

X Marks the Spot MeterThis app is accurate, sensitive and affordable

(meaning free).

PROS:Very accurate, great range

of sensitivities.

CONS: Because its a free app,

you have to deal with annoying, butignorable, ads at the bottom of the

screen.

score

Nuwaste Studios Pocket Light Meter

In Review

EXCELLENCE

AWARD

BOTTOM LINE: A phenomenal-

ly useful application in your pocket.

Shouldnt replace a real meter, but it

definitely works in a pinch!

MSRP: Free

ONLINE: Apples App Store

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18 In Review

Sensors and SensibilityThe D7000 is a video camera strong enough to keep Nikon acontender in the DSLR filmmaker market.

BY JON SILBERG

For some years after

Nikon brought video to

the DSLR world with its

D90, the company pretty

much ceded that market

segment to Canon, which

was first to market with

the 1080 and 24p options that really

made DSLR video a force in the

indie feature and TV worlds. Since

Nikon released the D7000, however,

the company has almost closed

the technical gap between the twocompanies in that regard.

The HD options and functionality

on the D7000 are very much like

those on Canons EOS 7D and T2,

DSLR hybrid offerings with sensors

of a similar size to this Nikon. Using

essentially the same H.264 codec for

video as all the DSLRs, the D7000

offers many flavors of HD, from

1920x1080 down to 640x424. At an

MSRP of about $1,200, the D7000

falls right in between the Canon

EOS 7Ds nearly $1,700 and that

companys $800 T2i.

First and foremost,

Nikons D7000 is an

amazing still camera.

Nikon has always made

a point of not adding

pixels just to add pixels,

because of the quality

costs in terms of noise

and latitude inherent in

decreasing pixel size to

increase pixel number on an imager.

I found virtually the same low-light

capabilities with the D7000 as with

my Nikon D700 and its astounding

12.1-megapixel FX-size imager.

Scenes shot at ISO 2500 lookedamazingly clean to me at 8x10, and

shots appeared noisy but still crisp

and with good contrast at settings

higher than that, up to 6400. I did find

that in a contrasty situationI was

shooting a DV Expo presentation with

a bright screen and a person speaking

in the shadowswhen I had both

cameras set with the same picture

control settings, the D700 seemed

to do a better job than the D7000 of

holding both shadow and highlight

information.

In the month I had to experiment

with the D7000, I found that some

of the magnificent qualities

of the still images

did not totally hold up to the line

skipping and compression involved

in recording video. I cant say I did

a true shootout between the Canon

7D I had earlier this year and the

D7000, but I did shoot both at ISO

settings throughout the range at

each cameras highest quality

setting. I used similar opticsthe

kit lenses for each body, Canons

28-135mm f/3.5-5.6 on the 7D and

Nikons 18-105mm f/3.5-5.6 on the

D7000and I zeroed out sharpness

and contrast settings, and across theboard I found a greater number of

moir issues in the D7000 footage at

every ISO and more noise in material

shot above ISO 800.

I was also frustrated with the

D7000 by the fact that its impossible

to change F-stop manually while

recording in HD modeunless

youre using one of Nikons older

lenses with an actual F-stop ring,

and then you can pull the aperture

manually. (The D7000, unlike some

previous Nikon models, can meter

just about any lens the companys

ever made that fits the mount.) I

was able to use a beautiful, ancient

Nikkor 75-150mmf/3.5 optic I bought

on eBay for $100. It not only let me

change aperture mid-take, it also

has a throw much more useful for

pulling focus than any modern auto-

focus lens. Shutter speed settings

can be changed while recording HD.

Overall, Nikons D7000 is an

amazingly fast, efficient still camera

with an incredible sensor, easy-to-

use and customize controls, and

some of the best metering and auto-

focus available in the current crop

of DSLRs (not merely in this price

segment). As an HD camera, it has all

the limitations inherent in the HDSLRworld in terms of ergonomics, a

very highly compressed signal

and all the rest, with (in my

experience) a tendency to

moir and get noisy faster

than HD out of the 7D.

That said, the D7000 has

kept Nikon in the HD game,

and it rates very close to its

Canon equivalents. At least

until the long-awaited 7D

and/or 5D Mk II sequels are

announced. dv

Nikon D7000

score

PROS: Great sensor; superb auto-

focus, customization and ergonom-

ics. Any flavor of HD (compressed

to H.264, of course) that you could

want.

CONS: Has all the same limita-

tions as an HD capture device that

all DSLRs have (because video func-

tionality will always be a secondary

consideration in designing cameras

used primarily for still photography).

Some moir and noise issues.

BOTTOM LINE: An excellent

still camera. An HD camera strong

enough to keep Nikon a contender in

the market segment Canon owned

for some time.

MSRP:$1,199.95

ONLINE: www.nikon.com

In Review

EXCELLENCE

AWARD

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2020

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dv.com

0

Rhett McLaughlin and Link Neal have

long felt a kinship with the local car

salesman who goes on TV dressed

up in a chicken suit. They appreciate

that jingle you cant get out of your

head for the local pet supply store.

They are the Commercial Kings.

McLaughlin and Neal built their

comedy niche on the Web by mak-

ing real commercialswith a distinc-

tive local commercial flavorfor real

businesses. Their Web series I LoveLocal Commercials was such a hit

that IFC greenlit a show called Rhett

& Link: Commercial Kingsthat docu-

ments how these beloved local com-

mercials are made.

The premiere episode of Rhett

& Link: Commercial Kings was pet

themed; it featured the making of

commercials for Holiday Hotel for

Cats and Super Shmuttle, a door-

to-door dog taxi and daycare. Other

episodes include a business called

Make Me a Pro Wrestler and Bury

Me Naturally, a company that offers

eco-friendly burial products.

In each episode,McLaughlin and

Neal get to know a small business or

two and conceptualize a commer-

cial for each one. Business owners,

customers and equipment on site

are all put to good use in each spot.

The goal is to draw customers to

these small businesses by coming

up with a commercial that is unique-

ly suited to the client,unforgettable and shot

within about 48 hours.

Fans have latched onto

the final product, says

Neal. They may call the

commercials crazy, but

at least they are a lot of

fun, and they are a ser-

vice for real businesses.

Before shooting

the actual commercial,

McLaughlin and Neal

take turns shooting

the business owners and associates

using a Sony PMW-EX1R XDCAM

camcorder, getting to know their cli-

ents. Meanwhile, a two-person TV

crew for the IFC show is document-

ing the whole process. One is cover-

ing McLaughlin and Neal and the

other, an audio tech, is mixing the

sound.

McLaughlin and Neal did have

to make one adjustment to their

work method because of the IFC film

crew with them on set. One of us

is always holding the camera, says

Neal. Now we had to be sure to

shoot in a way that didnt get the

other cameraman who is document-

ing us. It took the first couple of

episodes for them to adjust to the

new blocking.

Neal recognizes that the greatest

local commercials raise the question,

How did they comeup with that? One

of the most success-

ful projects from their

Internet series was for

Red House Furniture of

High Point, N.C. When

McLaughlin and Neal

arrived at Red House

Furniture, one of the

first things the employ-

ees told them was, We

have black people who

work here. We have

0

Rhett & Link Perfect the Art of the Local CommercialSWEET SPOT

BY JOY

ZACCARIA

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Rhett McLaughlin (left)

and Link Neal

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white people who work

here. All races of people buy

couches here.

With racial harmony as

their inspiration, McLaughlin

and Neal made the com-

mercial. The slogan is, RedHouse Furniture, Where

Black People and White

People Buy Furniture.

People loved it, says

Neal. It was confounding

to think, How can you com-

bine racial reconciliation

with selling couches? And

it worked!

Some businesses are

naturally suited for a

good jingle. In Las Vegas,

Designated Drivers is a com-

pany that drives you home

in your own car if youve had

too much to drink. For the

commercial, we determined

the most important thing

for people to remember isthe phone number, which is 456-RIDE,

says Neal. We wrote a jingle right there in

the field and recorded it into our phone as

kind of a scratch track.

Often the first pass at musical production

happens in the field, since they need to refer

to the track while shooting the commercial.

They then go back to their studio and use

Apple Logic Studio for the music production.

McLaughlin and Neal are mostly self-

taught as videographers. With every

step, whether it was greenscreen or light-

ing, we learned it all by necessity, says

McLaughlin. The Internet provides, and

we have been subscribers to Videography

magazine, where we picked up tips about

framing, three-point lighting and the

advantage of locking shots off.

The history of McLaughlin and Nealswork together goes back to the first grade,

when their friendship began. In high school

their video-making partnership started

thanks to a camera originally meant to

capture athletic stardom. My dad bought

a video camera to film me playing bas-

ketball in high school, hoping that Id get

a scholarship, McLaughlin says. I com-

mandeered that camera and Link and I

made movies with it. We wore that thing

out just shooting everything we could.

Over the years, they continued making

videos, even through college, where they

were both engineering majors. With Apple

Final Cut Express and a very simple digital

video camera, they built an audience on

YouTube to the point where brands began

approaching them asking to be part of

their videos. The two had been able to

make a living by creating YouTube videos

since about 2006. The local commercial

series was one of the ideas they came up

with for a brand in 2009.

The IFC show Rhett & Link: Commercial

Kings offers a window into McLaughlin

and Neals process of making the most

of a given marketing task with the props

and talent provided. The final product is a

great and lovable commercial, says Neal,

but the real meat is the whole process of

creating it. You see us directing talent

usually a business owner or someone whonever expected to be in their own com-

mercial, and now theyre the star!

McLaughlin and Neal continue to com-

bine the media of television and Internet

with this show. The episodes air at 10 p.m.

Fridays on IFC. At 10:30 p.m., the show is

encored along with a live chat at IFC.com.

As people are watching our process of

making a local commercial, they can talk to

us and ask us questions, says Neal. Its a

live video chat. I dont know how often you

can say youre hanging out with the host of

a show while youre watching it. dv

dv.com

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Instant Expert compiled by Ned Soltz

dv.com

iPad 2 Apple From $499Yes, I said iPad 2. Mount it on a DSLR rig and record directly into iMovie or stream live using thefree Ustream app. Or record and then edit in iMovie. Not water resistant.

HD Hero GoPro From $260

www.gopro.com

www.gopro.com

i2 3D-HD Aiptek $179

www.2fidelity.com

Records 720p. Optional hard disk. Glasses-less built-in monitor. Includes software to export ana-glyph 3D and supports export to YouTube 3D. Not water resistant.

Replay XD1080 Replay XD $299

www.replayxd.com

www.contour.com

The worlds smallest 1080p helmet cam. Writes to microSD card. Available in a variety of kits and

mounts. And, like most of the mini cameras, its water resistant.

Venerable camera maker Rollei now enters the smallish HD camera world. (I once shot with atwin-lens Rolleiflex!) It is bullet-shaped, waterproof to 10 meters, and writes 12-megapixel reso-lution in 720/30p format to microSD cards.

Built-in LCD screen and user-replaceable lens are two unique features of this small camera.

Remote control. Records 1080p to microSD cards. 9-megapixel resolution. Built-in microphoneas well as input for external mic.

www.iconixvideo.com

Superslim HD

Pencam

Ultimate

Gadgets $219

www.ultimategadgets.net

ITEM/

CONTACTCOMPANY MSRP

Low Size ... High Definition:An assortment of itsy bitsy HD cameras.

You'll find direct links to all these products at www.dv.com/Sep2011

www.apple.com

WHAT'S NEW & OTHER COMMENTS

3D Hero GoPro $100

ContourHD Contour From $250

Available with various standard and optional mounting options. GoPros various configurationsare tremendously popular in both consumer and professional applications. I walked around NYCwith one on my head and nobody even turned to look. Records 720/30p or 1080/30p to SD cards

in H.264 format. External monitor optional.

Stereoscopic enclosure with sync cable. Just add two 1080p HD Hero cameras, and set them forthe same format. Press the button and youre shooting 3D. Includes free GoPro Cineform Studiosoftware. A great inexpensive 3D solution. Files also work with Dashwood Stereo3D Toolboxplug-in suite.

Records 1080p to microSD card. Also has HDMI out. Numerous mounting options and one of thefirst real challengers to GoPros preeminent position. External monitor option available shortly.And it has external microphone input/audio out.

Super-small head. Requires lens. Not exactly an inexpensive crash cam, but an industry standard.A 2K version (Studio 2K) is now shipping. Iconix cameras have shot episodic TV and feature films,going where no other camera could go, whether due to physical size or extreme conditions. Wefeature it each year because there is nothing like it.

Cant resist running this again. Records 1280x960 30p to 8GB internal memory. The ultimate hid-

den camera from Ultimate. Looks like a pen but sports camera and mic. Voice-activated record-ing. Unlike the H.264 cameras above, this sneaky guy records to M-JPEG format. Great for yournext reality show or hidden-camera journalism.

Bullet HD RolleiAbout $350(250)

www.rollei-bullet.com

Drift HD Drift $349

www.driftinnovation.com

HD-RH1 Iconix$8,000 (headonly)

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For more than ten years, Digital VideoExpo has been the destination for contentcreation professionals to explore the lat-est technologies, learn from world-classprofessionals and connect with peers

who share the same passion. This yearsExpo will feature a packed show floor,Apple and Adobe training sessions byWeynand, production training by AbelCine,production and post conference sessionsfrom DV magazine, and prize drawings.Plus, there will be more networking eventsand free content than ever before.

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These classes both give a hands-on overview of the camerasystem and in-depth look into their functions. Combining

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DIGITAL VIDEO EXPO CONFERENCE PROGRAM

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DIGITAL VIDEO EXPO CONFERENCE PROGRAM


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OLIVER PETERS

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JAY HOLBEN

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PHILIP HODGETTS

9:00 am - 5:00 pmIndie Feature Film

Production and Post A-ZDIY Lighting 101:

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5:00 - 6:00 pm DVE Center Stage Keynote: The Art of the DSLR Video - Kevin Shahinian, Founder, Pacific Pictures

5:00 - 6:30 pm LAPPG Meeting | Room D

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Get a hands-on look at new

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Hotel & TravelPasadena Convention Center

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Host Hotel: Sheraton Pasadena303 E. Cordova Street

KeynotesDontMiss

These!

Jacob RosenbergDirector, CTO & Partner,Bandito Brothers

September 21stDVE Center Stage2:30 - 3:30 pm

Kevin ShahinianFounder, Pacific Pictures

September 21st

DVE Center Stage

5:00 - 6:00 pm

What you gain and what you pay for

in blood, sweat and tears by throwingcaution to the wind and embracing newproduction technologies and solving theirinherent problems in post.

RAISING THE DIGITAL BAR

THE ART OF THE DSLR VIDEO

27

by Jay HolbenDV 101

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septe

mber2011|

basics

dv.com

by Jay Holben

Understanding Color Correction

Colorcorrection is

a requisitestep in the

productionprocesin

everyproduction

processtocreate a final,

polished andprofessionalpresentation.

I was at an industry networking function this past week

and had a conversation with a young woman who was

interested in producing films. She had been working as

a PA for about two years, and when she learned that

I had previously been a cinematographer, she asked

me, Can you explain color correction to me? Does that

mean that something is wrong and it has to be fixed?

Before I could even start to reply, a young man standingnext to us chimed in, Thats what happens when they

shoot it wrong on set and they have to fix it in post.

I waited for the smile to crack on his face, but

when it didnt and I realized that he was serious, I had

to wonder how

many people in

this business dont

understand color

correction.Ill start with

the basics: color

correctionor,

as it used to be

called, color tim-

ing or gradingis

not a step to cor-

rect errors. It is a

requisite step in

the productionprocessin every

production pro-

cessto create

a final, polished

and professional

presentation. To

skip color cor-

rection would be

similar to building a car, making the chassis and piecingtogether the engine, putting in the interior and all the

dash components, bolting on the wheels and then skip-

ping the paint job. Youve got a car, but its unfinished.

The paint job doesnt correct any mistakes; its simply

the final stage in the creation of the car.

Color correction starts with balancing the image.

This is where some people have the mistaken belief

that color correction fixes errors. The majority of bal-

ancing isnt about fixing errors; its about accounting

for innumerable variables within shooting limitations:changes in the light due to different time of day or dif-

ferent fixtures, changes in the image due to different

shooting environments, or matching shots that were

recorded days, weeks or even months apart.

Especially in narrative shooting, where youre tak-

ing multiple camera setups (whether that be from

one camera or many) and editing them together to

create a linear whole that appears to take place in real

timealthough the production might have taken days

or weeks to capturebalancing between shots is very

important to smooth out the scene. It is the most basictask a colorist does, and it is the most complicated.

With todays digital tools, nearly anyone can take an

image, fiddle with some filters and functions and create

something cool, but having the knowledge, experi-

ence and tal-

ent to apply

that cool

look to every

other shot in asequence, and

make them

seamless, is

of paramount

importance.

Many people

who are new

to color cor-

rection think

they can juste x p e r i m e n t

to set a look,

and then copy

and paste that

look to the rest

of the scene.

Without bal-

ancing first,

that approach will have disastrous results.The general controls over the image are blacks,

mids and whites, and then red, green and blue color

elements of the picture. Within each color, you can add

that color, or subtract it by adding in its complementary

color. For instance, if you want to make a scene cooler,

you might add blue to the scene; if the scene is already

too cool, youll reduce the blue look by adding yellow. If

you adjust a color just in the blacks, it will change that

color value only in the shadow areas of the image. If you

change the mid range, it will change those areas thatare closest to proper densitythat middle gray area. If

you change the whites, you will affect only the areas in

the highlights of the image.

Color correction in Apple Final Cut Pro on Amandas Game

DV 10128

DV 101

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28/36

Once youve achieved a color balance, you can start to apply your look,

the creative part of color correction. Todays digital tools are versatile

enough to take a daylight image and make it night, which happens from

time to time. Thats not to say that it was a mistake by the cinematogra-phersometimes the sequence of scenes might be changed in editing and

what was once a day scene might now need to be a night scene. With a good

colorist (and the right image), this change is entirely possible.

Setting the look is normally done with the colorist, cinematographer

and director in the room. Most often, most of the look is set on location and

in camera, but it is further refined in the color correction sessions. Should

the look be a 1970s era feel, with high contrast and washed, faded colors?

Should it be dark with reddish hues to match the alien planet where the

story takes place?

A lot of high-end digital cameras now shoot in raw mode, which meansthat the image recorded has a very low contrast, high dynamic range.

The look that the cinematographer and director set during shooting is not

recorded,but is saved as metadata in a lookup table (LUT) associated with

the video. The colorist can start by applying this LUT to the footage to get

the best idea of what the director and cinematographer wanted the image

to look like. Without the LUT, the image will be washed, low contrast and

often a sickly greenish hue.

I would always recommend that any serious project be taken to a profes-

sional, experienced colorist. Although some editors cando color correction,its a lot like asking a veterinarian to operate on your mom. Sure, theyre

medically trained, but they are not skilled specialists in a very delicate and

complicated trade.

Software like Apples Final Cut Pro comes bundled with some basic but

pretty powerful color correction tools. I recommend using the 3-Way ColorCorrector filter in Final Cut and experimenting a bit.

On page 27 are some screen grabs from Final Cut featuring a shot from

a project I directed calledAmandas Game with actor Brian Glaney, shot by

cinematographer Teri Segal. Although the warm, high-contrast image was

our intention, Ive changed that to a more sickly green la Collateralfor

purposes of illustration.

Take a look at the three color spheres at the left side of the screen

capture. The far left sphere represents the shadow range of the image, the

middle are the mids, the right represents the highlights. Notice that each

sphere has a small circle in the center: this is the color position for that rangeof the image. Center is a neutral position, making no change to the image.

The farther away from center you drag that circle, the more drastic the color

effect youre adding.

In the final image, by adding blue/cyan into the highlights, I start to cool

off those red/yellow tones. I added a moderate amount of cyan into the

mids and then just a little into the blacks. The overall effect is a much cooler,

paler, sickly fluorescent look. This example represents a creative choice in

postproduction, which happens from time to time, not any fault or error

in photography. Even though the tools are available inexpensively, I stillrecommend working with a professional colorist to finalize your project. dv

basics|

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COMPANY PAGE WEB SITE

Adorama 13 www.adorama.com

AJA 5 aja.com

Azden 10 azdencorp.com

B&H Photo-Video-Pro Audio 30, 31 bhphotovideo.com

Blackmagic Design 7 blackmagic-design.com

International Supplies 28 www.internationalsupplies.com

LCD4 Video 35 lcd4video.com

Neil Enterprises 9 www.neilenterprises.com

Primera 17 www.primera.com

Redrock Micro 2 www.redrockmicro.com

Shutterstock 36 footage.shutterstock.com

Tiffen 16, 21 www.tiffen.com

Varizoom 29 varizoom.com

Videoguys 15 videoguys.com

Adobe3, 14; Aiptek22; Apple3, 12, 14, 16, 21, 22, 28; ARRI3;

Avid3; Bandito Brothers3; Blackmagic Design3, 10; Canon

U.S.A.3, 8, 18; Company 310; Contour22; Drift22; Evolve Digital

Cinema/IMG8; Fast Forward Video8; GenArts3, 12; GoPro22;

Hornet Inc.6; Iconix22; Nikon18; Nuwaste Studios16;

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Software3, 14; Replay XD22; Rollei22; Sachtler6; Sekonic16;

Sony Creative Software12; Sony Electronics20; Teradek6;

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1

Production Diary by Stefan Sargent34

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dv.com

So you think filmmaking is easya piece of cake. Youve

spent three years at UCLA, graduated with honorsyour

student film was screened at the Ventura Film Festival.

Youve got FILMMAKER printed on your business card.

Its all rosy and then one day you enter the real world

Its kind of scary out here. How to get work? Howmuch to charge? Get a crew to help? What to pay them?

Charge sales tax on DVD copies? The location needs a cool

$1,000,000 insurance policy

But be warned, dear newbiethe scariest thing out

here is CLIENTS, especially if theyre a dog.

MEET BENTLEY

He might only be a dog, but hes client to be reckoned with.

Stefan, I think that cut should be a dissolve.

Cutting is cool, John. Dissolves look really old-

fashioned these days.

Bentley, cut or dissolve?

Woof.

Its a cut. Thanks, Bentley.

Woof.

No, Stefan, I think hes saying wipe. Woof means

wipe. And hes right, a side wipe would be great. Good

boy, Bentley. Daddy loves you.

Youre not serious? You want a wipe?Why not? Try it.

What do you think Bentley? Isnt that better? Yep,

stick with the wipe.

KEEP CALM AND CARRY ON

Behind the photo of John and Bentley, you can see

my poster, Keep Calm and Carry On. In wartime

Britain, when a German invasion seemed possible, the

government produced this classic. As you all know, aseven Bentley knows, they didnt invade and the poster

was scrapped.

But its become my mantra. The visual equivalent of

Always Look on the Bright Side of Life.

CLIENTS ARE THE STRANGEST PEOPLE

I received an e-mail today from Peter.

Stefan, I showed our homepage video to Xxxxxx of the

Xxxxxx Corp. and he thinks the one you made five years ago

was better. Can you comment on this?Hang on a moment, Peter. Ive got Bentley with me.

OK, Bentley, heres the new videolike it? Two

woofs. Now heres the old video. No woofs.

Peter, my client today saw both. Loves the new one.

End of story.

MY WEB SITE CLIENT

Friends, Ive got to tell you that if you can get your head

around FCP, you, too, can make Web sites. WEB SITES its a natural extension of your filmmaking skills. Im

surprised that UCLA didnt include it in your curriculum.

You make a videowheres it to be seen? On the

Internet, of course. You dont want some dumb Web

designer asking for files.

So, my little FILMMAKERS, protect your video and

learn WordPress.

Now youve got double trouble. Take Michael (please)

He was no fun as a video client and now he wants a site.

Sure, I can do WordPress. Here are some themes. I

really like the iFeature themeor Striking. He settles for

iFeature. I spend two weeks creating the site. I always buy

an .info site from GoDaddy. They cost just over a dollar. Ihost them on my shared server for the client to see progress.

Michael LOVES what Ive created... Wow. Great.

Terrific. You are a genius.

Next week an e-mail: Stefan, I think weve picked the

wrong theme. Maybe Strikingwould have been better. On the

pages where we have white type over the ripple background,

please lose the background and go to black type. Finally, its all

too big for my Mac laptop. Please shrink the site down.

Come back, John. Come back, Bentley. All is forgiven.

You can have woofs, I mean wipes, on every scene change.Please shrink the site down.Grrrrrr.

Keep Calm and Carry On. Keep Calm and Carry On. Keep

Calm and Carry On dv

experience|

september2011

No, Stefan,I think he's

saying wipe.Woof means

wipe. Andhe's right,

a side wipewould begreat. Goodboy, Bentley.Daddy loves

you.

KEEP CALM AND CARRY ONIt Can Only Get Worse

I

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newbay dv 201109