first_imgAll too often directors, producers and even lowly editors get too attached to their temp music. Here are a few thoughts on how to avoid that trap.Photo from FlickrTemp music, or temporary music, is the score you’re editing with until the final or ‘real’ music replaces it. Many editors get into the trap of using copyrighted temp music in their project and falling in love with this score. This inevitably leads to problems…One of the main problems with being attached to your temp music is that it is the first time you see the scene really working…all of the cuts and beats work perfectly, the emotions and drama are accented perfectly and more often than not you’ve slotted in a Hollywood score so it feels like ‘high production value‘!All your hard work has paid off and it just sounds epic! Everything is golden, right?  Well, except for the crucial fact that you can’t use the music. Not in a million years will you get the rights, nor are you likely to be able to afford them. So what can you do?5 Ways To Avoid The Temp Music TrapFirst of all, as a good composer friend said recently, temp music is called temporary for a reason and it should stay that way. If you’re going to use temp music you should do so as little time as possible, otherwise all the people who are hearing it time and time again are prone to be wedded to it. So don’t leave it in too long or it will burn you in the end.Secondly, and editors are pretty much divided on this axiom, try to edit your project for as long as possible without music in it at all. So, if it’s a drama the scene holds itself up, rather than being propped up by the score. Or if it’s corporate, the clients are focused primarily on getting the content right….the focus isn’t blurred by the presence of the music. Then, when you add it into your project it will make it THAT much by Brandon Giesbrecht on FlickrThird, use music you can afford. If you can afford the temp music that you’ve chosen then you’re onto a winner right out of the gate and have avoided the temp music trap all together. Stock libraries like PremiumBeat offer a wealth of musical possibilities that you can reasonably afford to keep in your project. When the producer says ”I love the music! What is it?” You don’t have to reply ”Oh we can’t use it, it’s from [insert latest and greatest film score here]”.If you composers that you like to work with (and your clients can afford their rates), use some ‘sketch tracks’ from them. Then just pay them a bit to polish it up a touch and give it a bespoke fit.The fourth way to avoid the temp music trap is for composers to recognise that the temp music has been chosen for many good reasons. One of the main problems that often occurs with the introduction of ‘the real music’ is that people don’t like it. You’ve lived with the old music for so long and suddenly its gone.Maybe the composer has come at it from a totally different direction. Sometimes that can be surprisingly good, but more often than not the comments come back to the effect of ”can’t you make it more like what we had before.”Hopefully your composer will recognize that choices have been made in the selection of the temp track that should be heeded in regards to it’s style, pace, rhythm, feel, progression and instrumentation etc. That way the new music will feel like it belongs, just like the temp music did.Photo by Health Service Glasses on FlickrFinally, if you’re going to use a composer over using royalty free music, make sure you get the composer in as early as possible.  If they can provide you with some rough ideas, sketch tracks, or references to use in your initial edit then that will save you a lot of pain in the long run.The temp music will sound and feel a lot like the final music because it will be coming from the very same artist with all their ideas and sensibilities mixed in. The composer’s ideas of what this project needs will be injected in early on, and will be mixing in with all the other editorial choices that will inevitably be made. This just helps to make the whole process a whole lot smoother.last_img read more

first_img[maxbutton id=”10″][maxbutton id=”11″] Want to use a LUT in your color grading process? Download these free film print emulation LUTS and learn how to use them in your video projects.If you’ve ever wanted to know what a LUT is and how to make the most of LUTS in your color grading, then this podcast from the three Coloristos (Jason Myres, Juan Salvo, and Josh Petok) will provide you with a detailed low-down.A LUT (Lookup Table) is essentially the modifier between two images, the original image and the displayed image, based on a mathematical formula. There are different types of LUTS – viewing, transform, calibration, 1D and 3D. The three colorists go into a lot of detail on all them.The main concern of the Coloristos is the propagation of the idea (online) that simply slapping a LUT on your footage is a silver bullet for creating a great looking grade. Real color grading is far more complex than that.One note of caution for using a LUT is that you need to know what the color space and input level was intended to be for that particular LUT, and the type of shot it was intended for.Download Free Film Print Emulation LUTSOne of the subjects the colorists mention is film print emulation LUTS – those that would emulate the final printed image as displayed on the screen at the end of the film print process. Those LUTS are now also being used on digital images to emulate the look of screened print, rather than actually using it to ensure the grade would look the same on a printed image. Either way, they’re pretty popular online and several people are offering them for free…Tom Majerski is offering two film print emulation LUTS for use with Blackmagic Design Cinema and Pocket Cameras (examples in the video above). The first LUT comes in two flavors – a vibrant version and a low saturation version of a ‘Technicolor Process 4’ look.The second LUT is loosely based on a Vision 3 500T film stock and designed to supply “soft and natural skin tones.” Tom says, “For Best results, remember to select BMD Film Color Space and perfect the white balance and tint before applying the LUT.” You can also download another ‘Kodak’ LUT from Andres De La Cruz over on the Lift Gamma Gain Forum.For more film print emulation LUTS and a tutorial on how to apply a LUT in DaVinci Resolve, check out this previous PremiumBeat post.Applying a LUT to LOG FootageIf you’re trying to apply a LUT in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7 or DaVinci Resolve 10, then this step by step guide from AbleCine is the one-stop shop you need.In a second post from AbleCine, you can download 13 separate LUTS for working with Canon LOG footage from the C100, C300 and C500 cameras. In combination with the tutorial above, you should be good to go for transforming your LOG dailies into edit ready footage.“We’ve taken the Canon LUTs and modified them for use in various programs. Additionally, we’ve thrown in some versions with our popular AbelCine scene files applied. Plus, we’ve made both legal and full range versions available for each.”[maxbutton id=”12″]Another place to create LUTS for free is the Arri Alexa LUT Generator website, which allows you to set the details of the mathematical transformation that is the Look Up Table.last_img read more

first_imgHigh-Speed Cinematography TutorialWhen slowing down playback at 24 fps your video editing app will fill the gaps with frames, creating a slow motion effect. There are further ways to enhance this effect in post using After Effects.The video covers:Shooting slow-mo correctlyFrame rates and over-crankingSequence rates with Adobe Premiere ProAdvanced frame blending techniques with Adobe After Effects Employing the CineAlta system, the Sony PMW-F55 isn’t a cheap buy at $28,990. Many will argue that it rivals the Arri Alexa, except for much less cash. In fact, it has more capabilities in the slow-motion department.The F55 captures a huge 180 fps in 1080p internally, boasting a super clean image. In 4K it is a respectable 60fps internally, with 240 fps 16 bit raw at 2K with no image cropping attainable through the optional off-board recorder. Check out the Sony PMW-F55 at 240 fps: 3. Sony NEX-FS700R Want to shoot slow motion? The following video tutorial will demonstrate the latest professional practices to achieve your own slow motion shots.We view films at 24 frames per second. When played back properly, it’s a standardized approach that provides an “artsy” look to cinematography. High-speed cinematography involves shooting at a higher frame rate than 24 fps, giving yet a more surreal look. You may choose to shoot anywhere from 60 – 18,000 fps, depending on your resolution and budget.High-Speed CamerasFirst, let’s take a look at 5 professional high speed cameras for the aspiring indie filmmakers. Although some cameras shoot in 60 fps, for a ‘true’ smooth slow motion effect, pros would tell you to shoot upwards of 100 fps+.1. The EdgertronicThe new Edgertronic is a huge breakthrough concerning high-speed cinematography for the indie-filmmaker, starting at only $5,495. It’s a specialty super slow-motion camera packing frame rates up to 17,791 with resolutions up to 1280 x 1024!The Edgertronic was developed by MIT-trained engineers looking to make high-budget camera technology attainable for the masses. They originally started a Kickstarter page to launch the product in 2013. Check out the Edgertronic at 500 fps: The JVC GC-PX100 is the most affordable camera with great fps capabilities coming in at $999.95. A time control button lets you choose shooting speeds between 1/80th and 500 frames per second, or from time lapse to slow motion. The downside to shooting at 100 to 250 frames per second concerns the resolution dropping to 640 x 360, and to 320 x 176 at 400 or 500 frames per second.The price is definitely what makes the JVC GC-PX100 stand out. Check out the JVC GC-PX100 at 600 fps: The Sony NEX-FS700R starts out at the modest price of $7,699. Quite a bang for your buck considering the specs: up to 250 fps at 1080 x 1920. By no means a one-trick-pony, the price is a good deal for professional looking slow-mo. With some cropping and a reduced resolution, higher frame rates of 400/800 and 960 fps are also attainable with this camera. Check out the Sony NEX-FS700R at 240 fps:center_img 2. RED Epic-XAt $19,000, you could buy a new car for the price of the Epic-X. All jokes aside, this is a serious camera that crushes the JVC in comparison. With glorious 5k and 4k capabilities, along with the Mysterium-X 5k sensor, your image quality will be top-notch.The Epic shoots the following rates:1-120 fps 5K and 4.5K1-150 fps 4K1-200 fps 3K1-300 fps 2KAdditionally, flexibility can be nice as it will shoot standard frame rates: 23.98 through 59.94 fps for all resolutions. The Epic is the only camera available to the market that is capable of a 120 frame rate at a 5k resolution. Check out the Red Epic at 300 fps: 4. Sony PMW-F55 5. JVC GC-PX100 This video tutorial was created by Rich Harrington for Adorama Photography.last_img read more

first_imgExpand your reach exponentially and build your audience quickly with this tutorial on how to export video for Facebook.As filmmakers and videographers, we should constantly be trying to push content out through the web – and in particular, on social media platforms. With that said, there may be no better social media platform to expand your reach than Facebook.When exporting with Premiere Pro CC, Avid, or Final Cut, there are a few settings that Facebook recommends:H.264 video with AAC audio in MOV or MP4 formatAn aspect ratio no larger than 1280px wide and divisible by 16pxA frame rate at, or below, 30fpsStereo audio with a sample rate of 44,100hzFacebook also drops this reminder to anyone exporting video for the site: Keep in mind that videos must be less than 40 minutes long. The longer your video is, the larger its file size will be. This may affect the quality of the video.Utilize YouTubeWhile you can upload videos directly to Facebook, we recommend using other sources to store your video content such as YouTube and Vimeo. By doing this you can embed YouTube videos into your Facebook timeline. This not only increases your viewership on Facebook, but it also links to your YouTube channel, which expands your audience reach.For an example, KingTutsPro gives a short run-through on how to properly export videos for use with YouTube. Note that he is using Premiere Pro, but the settings used here are pretty standard, as noted above from Facebook.Also, Rudy Washington from gives us a short and simple way to embed those videos into our Facebook timeline. Export Videos Using Premiere Pro CCOnce you have your edit done, you will want to export your video for Facebook. Go to File > Export > Media.Next up, let’s set our Video Settings. Be sure to select H.264 and then, under the presets for this particular format, you should have a wide variety of options.We tend to use the YouTube 720p or Vimeo 720p preset, but you can use which ever preset you feel comfortable with.Finally lets make sure our audio settings are correct and then export. Select the Audio Tab and make sure the sample rate is set for at least 44100Hz.Once you’ve done this, all you need to do now is name the project and pick an export location. Then click Export and wait for the process to complete.Using Avid Media ComposerAvid Media Composer is a little more involved when exporting with specific settings for Facebook. First, let’s start off as usual by going to File > Export.Now, you’ll want to set your export location first. Once you’ve done that, select the Export Settings preset.I’ve found Fast-Export QuickTime NTSC to work really well. Now, click the Options button located directly underneath the Settings drop-down menu.The Options button will pull up a new window that gives you the export settings. Be sure to select Custom and then click on Format Options.Once in the Format Options window, let’s select Video Settings, then click the drop down menu Compression Type. We want this set for H.264.Then click OK.Next up, let’s select Video Size. In the Dimensions drop-down menu we’ll select 1280 X 720 HD. Then click OK.Finally, let’s click on Settings under Sound. Set the format to AAC, channels to Stereo or Mono and Rate to 44.100.Click OK, then OK again. Now you’re ready. Hit Export and sit back and wait for your latest creation to process.Using Final Cut ProApple has made the process of sending video to Facebook as easy as possible. When you have completed your edit, simply go to File > Share > Facebook.Now let’s setup our info. Give your project a title and then give it a description. Finally, add your name and give it some tags to increases its visibility.Now let’s click on Settings.In Settings, you can see that FCPX has essentially applied the settings that are compatible with Facebook.If you have never used this process before, you will need to sign into Facebook before clicking Next and completing the process.Hopefully this info will help you get your work in front of more people. Here are a few more posts about getting your stuff out there:Create a Video On Demand Strategy For Your Film7 Tips for Promoting Your Indie Film on Social Media5 Tips to Increase Your Chances of Getting ‘Staff Picked’ by VimeoAre your Facebook friends going nuts for your content? Do you have any other advice on spreading content across the web? Please let us know in the comments below.last_img read more

first_imgIII. Budget Size Does Not Determine SuccessImage via United ArtistsThe production of Rocky is as much of an underdog story as the film itself. Sylvester Stallone was a struggling actor with a few background character roles under his belt. While broke and unable to find work, Stallone started writing a script in a spiral notebook. He had the first draft of Rocky completed in only three days.The script did find plenty of interested buyers, but no studio was willing to let Stallone star in the film as well. Eventually, Stallone would strike a deal with United Artists. The deal let him star in the film, but the films production budget was cut dramatically. The entire budget was just under $1,000,000.Stallone took the deal, and the movie was shot in 28 days. After its release, Rocky went on to be the highest grossing film of the year — pulling in $225 Million worldwide.IV. Think on Your Toes – Don’t Be Afraid to Make ChangesImage via MGMRocky’s limited budget required the crew and Stallone to work as quickly as possible, which would eventually lead to some minor production issues. For example, the team making the banners for the arena reversed the color of Rocky’s shorts. With the budget they had, there was no way to either fix the banner or even change the fighter’s actual shorts. In a quick moment, Stallone simply added a line to the script making fun of the situation. He did the same when Rocky’s robe was delivered oversized.The film also called for a date scene between Rocky and Adrian. Originally they would go to a popular rink and ice skate. The sequence called for hundreds of extras — which the production couldn’t afford. Instead, the crew filmed an empty rink and added a scene where Rocky bribes a janitor to let them skate after hours.The point is, something unexpected will happen. Don’t try to fix everything, not every problem needs to be solved. A quick fix is often better than losing days or weeks trying to fix a minor issue.V. You Will Make a Bad Film – Go Down, But Not OutImage via United ArtistsRocky V — Enough said.Honestly though, it’s bound to happen. There may be a film you are completely satisfied with, but the audiences don’t like. There are also plenty of times the whole film will be a disaster, and you’ll have to salvage whatever possible. Either way, just finish a project and move on. Every film offers something to learn from. Once this happens, you will then know how not to make a film. VI. Music Sets the ToneImage via United ArtistsAdmit it. You saw this picture and the song already started playing in the back of your head. Bum-Bum-Buuuuum Bum-Bum-Buuuum.Music is a huge part of storytelling, and that should be obvious with this whole franchise. From the original compositions of Bill Conti to the popular radio hits, the Rocky films have always embraced music for montage.Bill Conti’s Gonna Fly Now is an iconic song in its own right. It has not only become synonymous with Rocky, but with the story of every underdog. The film’s score was a massive hit, and Gonna Fly Now charted on the Billboard 200 for five weeks. Gonna Fly Now earned an Oscar Nomination for Best Original Song.This wasn’t even the only time a song from a Rocky film was nominated. Eye of the Tiger by Survivor also an Oscar Nomination for Best Original Song for Rocky III.Shameless Plug: Did you know this is also a production music site? Just sayin’…VII. Your Work Will Leave a Lasting Impact on SomeoneImage via MGMIt’s been 39 years since the first Rocky hit theaters. Sylvester Stallone had imagined that Rocky Balboa would be the final chapter in the Rocky saga. Then he was approached by up-and-coming director Ryan Coogler.Coogler had grown up on the Rocky franchise, his father watched the films repeatedly. His father would even play scenes from the movies,The scene he would always show was where Rocky is in the chapel of the hospital and Burgess Meredith, in the character of Mickey, comes in and tries to motivate him to get him out of whatever funk he’s in. Even as Rocky’s bent over, his wife is in a coma and he just had a son he hasn’t even held yet. Rocky doesn’t say anything in the scene. He just sits there and listens. Burgess Meredith goes through the gamut of emotions from frustration, to yelling. It’s a beautiful, beautiful scene, and that’s the scene that my dad always would play to get me fired up. – DeadlineCoogler turned to Stallone and asked him about continuing the franchise. The upcoming Creed takes the series in a whole new direction, as the aging Rocky takes on the role of mentor and trainer to the son of Apollo Creed.The true legacy of any artist’s work is the impact it makes. Most of the time, the creator will never even know that they’ve changed someone’s life. That is part of being an artist. Creating work for others, with the hope that what you make will live on. In some way, each project you work on will be a memory for someone. That’s why you should make the best of every project. You never know how you will truly impact others. The story of Rocky – the movie franchise, not the character – is a great source of inspiration and wisdom for anyone interested in making films.Top Image: Sylvester Stallone on the set of Rocky IV via MGMCreed, the seventh installment of the Rocky franchise, is about to hit theaters. Let’s take a look at how one small film used new technology, great music, and incredible editing to create one of the biggest film franchises ever. Here are 7 things filmmakers can learn from the Rocky franchise.I. Montage and Propaganda Are PowerfulImage via MGMThe Rocky films had a huge impact on making the modern movie montage. The first film set the tone with an iconic training montage that went on to be replicated in countless films, including nearly every sports film made since. Rocky went on to win an Oscar for Best Film Editing.Outside of the first film, Rocky IV is known for an incredible amount of montages. Heck, 31.9% of the entire film is just montages, and the movie is still awesome. The Rocky IV montages tie closely to the original Soviet Montage Theory.Sergei Eisenstein first developed the intellectual montage in Battleship Potemkin. The film was a propaganda piece designed to influence an audience with a tertium quid, or a third thing people associated with two elements. In the infamous Odessa Steps sequence, the audience would see soldiers firing among a crowd and immediately feel helpless and oppressed. That feeling of oppression is the tertium quid.Rocky IV is an incredible piece of American propaganda. The film features Rocky training in a cabin out in the wilderness, while his opponent trains in high-tech facilities with a whole team of scientists. Those two images give American audiences a feeling of perseverance no matter the opponent, a tertium quid of strength.You may think that a montage is cheating, but it really is a great technique to use. You can control your audience’s emotions with a powerful montage. It’s all in the edit.II. Embrace New TechnologyImage via NPRWhen Rocky director John G. Avildsen wanted to film part of the original training montage, he wanted the audience to move with Rocky. To accomplish this, Avildsen turned to camera operator Garret Brown. Brown had recently created a new camera stabilizer, which he called the Steadicam.Garret Brown had recently used the device on two other films, and the footage had absolutely blown everyone away. Rocky was one of the first films to use the Steadicam, which has since become a standard piece of filmmaking equipment.last_img read more

first_imgWhen shooting directly at the sun, some digital cinema cameras suffer from the “black sun effect,” which can leave a nasty-looking hole in your image. Here’s how to fix it in DaVinci Resolve.Top image via ShutterstockOne very common (and frustrating) issue that most filmmakers eventually face is the black sun effect. If you’ve ever experienced this issue, you know just how annoying it can be to review your otherwise perfect looking footage, only to realize there’s a big black hole right in the middle of the shot.Most often, this artifact is a result of extreme overexposure — hence why it’s so common when pointing your camera at the sun. The center of the overexposed portion of your image will simply clip to black, as opposed to clipping to white, which inevitably leaves an ugly mark on your footage.Image via ShutterstockNot all cameras will have this issue. In fact, most don’t suffer from this problem. But some digital cinema cameras (such as the original Blackmagic Cinema Camera) are prone to it and need to be handled carefully in post to get rid of the problem.The good news: it’s actually very easy to fix this problem in just about any color correction software. For the purpose of this post, I’ll describe the steps that I’d recommend using in DaVinci Resolve — but keep in mind, you can apply these principles no matter what color software you’re using.Step 1: Add a WindowThe first step you need to take after importing your footage is to create a power window around the black spot on your footage. This usually works best with a small circular window positioned directly on top of the black hole. You might want to add a touch of softness (or feathering) to the window, but try to limit the overall size as much as possible. You really only want it affecting the black spot and maybe a few surrounding pixels.Step 2: TrackOnce your window is set up properly, the next step is to use a tracker (such as DaVinci Resolve’s built-in tracker) to track the mask to the black spot. This step might not be necessary if you were shooting a locked-off shot on a tripod, but if you were panning, tilting, or shooting handheld, you’re definitely going to need to track your window. Once the track is complete, you can move on to the final step.Step 3: Levels AdjustmentWith your window now tracked perfectly to the black spot on your footage, all you need to do is lift up your shadows as much as possible. The easiest way to do this in DaVinci Resolve is to crank up the “lift” wheel as far as possible, so that your black level effectively turns white. This will completely eliminate the black spot in your footage, leaving you with a perfect final image.To help visualize these steps, be sure to check out the video below. It will show you exactly how to remove the black sun effect on your footage.Have any additional tips/tricks/techniques for adjusting sun spots? Please share them in the comments below.last_img read more

first_imgThe RED HYDROGEN ONE is a pocket-sized holographic media machine. I don’t know what that means.Top image via RED.After the REDUSER forum went dark for the announcement, I had to turn to RED’s Jarred Land for information about the new device that RED has teased for the past few weeks.On Land’s Facebook page, he announced the RED HYDROGEN ONE as “a standalone, full-featured, unlocked multi-band smartphone.” The Android OS device is said to have a 5.7″ holographic display that can switch between 2D content, 3D content, holographic content, and interactive games.The device claims that users do not need glasses to experience the 3D and holographic content.RED’s 4-View holographic content uses the H4V codec. In addition, the HYDROGEN uses a propriety H3O algorithm to convert stereo sound into multi-dimensional audio.The phone also integrates with the RED camera line and works with the EPIC, SCARLET, and WEAPON as an interactive monitor. Pre-orders are available in Titanium for $1,595 USD and in Aluminum for $1,195 USD. Prices are not guaranteed to be the same at launch. Pre-orders are set to ship in Q1 2018, assuming there aren’t any delays.After reading the rest of the announcement PDF, I’m not gonna lie. I have no idea what most of this is talking about. Apparently there will be modules you can attach in the future, I think. It will include a USB-C charger, MicroSD card slot, and a gift for early orders. Outside of the cover image atop this article and a link to the PDF, this is everything the public currently knows.There is currently no more information available, but we will update accordingly.*Update 1: Jim Jannard has added a few minor additional details in the reduser forum. (Bolded text is the author’s own.)The Holographic Display. It is incredible. It is multi-view (4-view) as compared to stereo 3D (2-view). Watching shocked faces light up when people see it is really motivating. There is no good way to describe it until you see it. Hopefully we will get some skeptics eyes on it soon… then they can tell you.Our display is technology you haven’t seen before. It is not lenticular, which is inferior tech in every way, has been tried many times before and failed for good reason. (see Amazon 3D Fire, LG Optimus, etc). Lenticular display dramatically lowers resolution, cannot be turned off for standard 2D content, only works in one direction (usually landscape), has color crosstalk… to name just a few issues.One website said it was unclear whether HYDROGEN came with a battery. Let me assure you that it does. 🙂It also comes with internal storage and an external micro SD card slot. And a headphone jack. A selfie camera and a back camera. These cameras will not produce cinema quality images. No cell phone does. What we will have is a modular system that adds image quality well beyond any other camera short of our professional cameras. Remember that we have a lot of elbow room on this front…*Update 2: Jarred Land has posted a photo of David Fincher and Brad Pitt experiencing the HYDROGEN .H4V content.Crazy. Last night it seems the entire the world was arguing over how insane we were (again) and how the Hydrogen display we are promising is just simply impossible.While everyone was taking bets on how many years it would take to actually crack the no-glasses code, I was sitting with some friends having our own little .H4V viewing party on fully working Hydrogen Prototypes.This isn’t voodoo or witchcraft, but it definitely is magical.I can’t wait for you all to see it. Thoughts on RED’s latest announcement? Let us know in the comments.last_img read more

first_imgFocus ControlIf you’ve yet to get the Pocket 4K, and you’re researching what else you need to purchase before you do, it’s essential to know that the camera doesn’t have continuous autofocus (as pointed out in our review). It’s a cinema camera, after all. However, it does have autofocus assist, where you can tap the focus button on the back and have the camera focus onto the area of attention. It’s useful when you’re shooting wide open in a daylight situation and you can’t quite tell if the focus peaking is where you need it — say, the center of a flower. You can quickly hit the autofocus button and, perhaps, get better focus. The problem, however, is that this feature initially only worked with native M4/3 lenses.As we read in the Metabones EF to M4/3 update, this feature now works with this Speed Booster, but it’s still unavailable on the Viltrox EF-M2 II. However, the Viltrox EF-M2 II didn’t initially support the function to control the aperture either. They have since remedied this in the 3.3 firmware update. Therefore, we could perhaps gamble and say that Viltrox may feature this in the future. But again, this camera does not have continuous autofocus, and in all likelihood, you’re not going to need the use the lens’s autofocus control.IS ControlOne of the initial drawbacks to the Pocket 4K was the absence of IBIS (In Body Image Stabilization). Many filmmakers felt that you’d be left with mediocre results if you were to combine the Pocket 4K with an older lens that also didn’t have IS. Users were worried that the slightest handheld movement would look jarring. Whether or not users still feel like that’s an issue, there’s an apparent issue with the Viltrox not recognizing the lens’s IS control.As Mattias Burling reports in his video above, he was only able to get the Tamron lens IS control to work with the Viltrox EF-M2, if he downgraded the firmware to 2.3.Iris ControlWhat type of lenses are you using? If there are vintage lenses or lenses that accommodate manual iris control, then there’s little need to buy an adapter that boasts the use of electronics, as it’s just going to rack up the price of the adapter. However, I know many URSA users (like myself) who have acquired a Pocket 4K to complement the URSA as a B-cam. As such, you’re going to need a Speed Booster if you’re using lenses with an electronic aperture.The Viltrox can control a lenses aperture out of the box, but from the Blackmagic Pocket Cinema Camera 4K Facebook group, several users are suggesting that there’s a bad batch of Viltrox adapters floating around the marketplace, as many users have to replace their adapter due to lack of iris control. There doesn’t seem to be an official fix if your lens stops responding to the adapter. However, a few Pocket 4K users on Reddit have discussed a few fixes.I’ve had the same issue with the exact same Viltrox. The only solution is to remove the adapter and reattach it until it reads it again. As soon as you turn off the camera though, you might have to do that same process over and over. I definitely wish I hadn’t bought this adapter.And . . . Thought it was just me. I was in heaven. Worked. Then updated. Did not work. I just updated again today to the latest. Worked for three seconds. I am going to go back to the original firmware. A lot of people having luck with that.Certainly not words comfort.Image QualityPerhaps the most crucial element of buying any peripheral that’s going to sit between your lens and your sensor is the quality that it will produce. Or more correctly, how it will affect the quality of the image. Again, like the aperture control issue, there seems to be a hit-or-miss consensus with the quality of the Viltrox adapter. The effects include a soft image, aberration, distorted bokeh, and hazing. In the video below, Thomas Shomo shares his experience working with the Viltrox EF-M2.Bluntly named “Viltrox EF-M2 for Blackmagic Pocket 4K: Why You Shouldn’t Buy It,” Thomas certainly demonstrates some issues that can cause headaches in the long run. Unlike many other videos that have expressed dissatisfaction with the Viltrox EF-M2, Thomas also compares the imagery with a Metabones adapter so we can compare the results.Image by Thomas Shomo.You can see a drop in sharpness when using the Viltrox. This is primarily where the extra bucks go when you’re paying for a Metabones Speed Booster.After reading the article above, it’d be easy to think I’m just going to save for a Metabones Speed Booster. But if you’re on a budget, you can work around the issues of the Viltrox adapter. In this video, Areia Creations introduces a few solutions to some of the visual problems caused by the adapter, such as adding cloth to the inner housing of the adapter to stop the flaring, or adding tape to the back of the adapter for a more snug fit against the Pocket 4K. There are always workarounds to budget accessories.I remember in 2010, when I first paired a T2i/550D with RØDE’s first video mic, the automatic gain control from the camera was so awful, it made listening to dialogue unbearable. And to fix this (following Dave Dugdale’s advice), I had to download a 19kHz sinewave tone to my iPod, buy a y-splitter cable, and have the tone fed to the right channel and the video mic to the left channel. In post, you’d then have to disable the right channel and replace it with the microphone information from the left channel. The process was tedious, sure. And I didn’t get the same quality audio as I would have recording into a separate field recorder. But I didn’t have the budget for a field recorder, so I made it work.While the Viltrox adapter isn’t going to give you the same results as the Speed Booster that costs three-to-four times as much (nor is it built as well), it’s still going to give you consistent results to work with until you can upgrade. Alternatively, if you do have the finance available for the Metabones brand, it may be best to wait until the official Metabones BMPCC4K adapter has been released.Looking for more articles on video gear? Check these out.Is The New Mac Pro a Content Creator’s Dream Machine?Video Gear: Is the Fuji X-T3 a Viable Option for Filmmakers?Tips for Selling Your Cameras and Video Gear OnlineVideo Gear: Quick and Easy 3-Point Lighting BundlesThe 6 Best Cases To Protect Your Video Gear Next in our ongoing series of Blackmagic Pocket Cinema Camera 4K guides, we’re taking a look at the world of Speed Boosters.Although “Speed Booster” is a registered Metabones trademark — much like Velcro, Sharpie, and Hoover — the name Speed Booster has now become synonymous with all mount adapter brands that improve lens speed.The Pocket 4K houses a micro four-thirds mount, primarily used by Panasonic and Olympus, which is perfect if you’ve upgraded to the Pocket 4K from the Lumix line. However, if you have migrated from another camera system and don’t intend on replacing all of your lenses, you’re going to need a mount adapter. There are plenty of (dead) mount adapters on the market (for under $50) that will allow you to transition your Nikon lens to an M4/3 mount, quickly. (But this usually means losing access to all lens electronics, correct focal distance, and full sensor coverage.) Therefore, I’m solely going to be looking at which Speed Booster is the perfect adapter for your Pocket 4K.At the moment, there’s a battle between Metabones or Viltrox. Well, actually, I’m not going to waste your time. The Metabones M4/3 Speed Booster wins. The renowned brand was always going to beat the budget counterpart. You get control over all electronic lens functions, they’re well built, and they boast impressive image quality. Of course, this isn’t even acknowledging what Speed Boosters are known for — focal reduction and increased lens speed.Although the Viltrox adapter costs just a fraction of the Metabones Speed Booster, the proverb “you get what you pay for” certainly applies. Before we take a look at the Viltrox adapter, let’s quickly run through recent Metabones news relating to the Pocket 4K.At this point in time, there isn’t a Pocket 4K-specific Speed Booster on the market. Adapters for EF/Nikon/Sony to M4/3, yes. But not for the Pocket 4K. If you have recently visited the Metabones website to find adapters that are compatible with the Pocket 4K, there are three announcements relating to the camera.The EF to M34 adapter has a Pocket 4K update. There’s a Pocket 4K adapter in the works, and the Blackmagic Pocket Cinema Camera Speed Booster won’t work on the Blackmagic Pocket Cinema Camera 4K.Do you know that popular .gif from The Hangover where Alan is counting cards?That’s how I felt when I was digesting that information — because on the surface, everything contradicts everything else. It’s only when you break it all down that you see three separate adapters are being highlighted. Let’s take a look at the announcements.First, the EF to M43 update announcement:Metabones® releases firmware version 3.1 today, adding autofocus support to Blackmagic Pocket Cinema Camera 4K. The intent is not to replace, but to supplement focus-pulling in cinematography. There is no continuous autofocus, but one-shot AF is activated by pressing the focus button on the back of the camera. It may take a couple of seconds or more to lock, and if used during filming will cause visible disruption in the footage. Use it before recording commences and we recommend manual focus during recording.I cover this feature fully below, but briefly, the Pocket 4K, when connected with the EF to M34, would only be able to control the aperture, not the focus assist. The latest firmware update will now allow you to use the focus button on the pocket 4K. Be sure to download that if you’ve recently acquired the EF to M43 Metabones Speed Booster.New adapter & BMPCC update:There will be new Pocket 4K Speed Boosters® with new optics specifically optimized for the unique characteristics of the new Blackmagic Pocket Cinema Camera 4K. We will disclose details in a separate announcement. Each Speed Booster® is designed specifically for the filter stack of the sensor. The existing Speed Booster® XL 0.64x and Speed Booster® ULTRA 0.71x have excellent optical properties on JVC, Olympus, and Panasonic cameras, but the forthcoming Pocket 4K Speed Boosters will work only on Blackmagic cameras.And . . .Important note: Metabones Canon EF Lens to Micro Four Thirds T Speed Booster SUPER16 0.58x (MB_SPEF-M43-BT7) is for Blackmagic cameras with Super 16mm sensor size. It is not compatible with Blackmagic Pocket Cinema Camera 4K. New products designed specifically for Blackmagic Pocket Cinema Camera 4K will be disclosed in a separate announcement.In the coming months, we’ll see a Metabones Speed Booster specifically designed for the Pocket 4K. And, when choosing a Speed Booster, it’s important to note that the original BMPCC Speed Booster will not work on the Pocket 4K. However, both cameras house an M4/3 mount, so why not? Well, the original pocket cinema camera houses a super 16mm-sized sensor, which is inherently smaller; therefore, it won’t correctly cover the size of the sensor.While I would recommend opting for the Metabones Speed Booster, or at least waiting until we can review the Pocket 4K Speed Booster in the future, not everyone has an extra $650 to spare for a lens adapter. That’s almost the cost of the camera itself, and there’s no harm in working around the limitations of a budget accessory, so let’s see what they are.last_img read more

first_img Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now Maybe the results you are producing now are good in spite of what you are doing. Maybe you aren’t producing your good results because of your beliefs and the actions you are taking (or aren’t).Maybe you aren’t making your number because you are taking the right actions, prospecting everyday, and selling exceptionally well. Maybe instead you have had a few lucky breaks, breaks that aren’t likely to come your way every year. Maybe you really should be doing much better. What if your sales results aren’t what they are because of what you are doing, but are good in spite of what you are doing?Maybe you feel fit and healthy now in spite of the fact that you aren’t really taking care of yourself. Maybe you are young enough, or maybe lucky enough, to feel good now. What if you feel good now in spite of what you are doing?It’s easy to assume that your beliefs and your actions serve you when things are working. If your results are what they should be right now, there is nothing compelling you to change. But take the same beliefs and same actions and project your path out into the future.If you aren’t prospecting, aren’t working on your effectiveness, and aren’t progressing as a salesperson (and as a businessperson), what will happen to you when you don’t catch the lucky breaks you’ve caught up until now?If you aren’t taking care of yourself, eating right, getting enough sleep, exercising, and avoiding things that are known to damage your health over the longer term, what will your health be like 10, 20, or 30 years down the road?You get to choose your future regrets right now. You get decide what you are going to wish you had done differently now. With every choice you make now, you are choosing what you will regret years and years from now. You also get to choose what decisions you will be happy with having made, even if they make you uncomfortable now.Long-term success and happiness is intentional.last_img read more

first_img Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now The most coachable salespeople love to role-play.How you practice the game is how you play the game. If you don’t practice using the language that you are going to use when you are sitting face-to-face with your dream client, that is not how you’re going to play.A Momentary Flash Of BrillianceOccasionally, something brilliant comes out of your mouth. Something unexpected. You’re in the middle of a conversation with your dream client, and you say something so brilliant even you are stunned. Occasionally.Most of the time, you say what you’ve said hundreds–if not thousands–of times before. You say what you’re comfortable saying. And you’re afraid of saying something that you haven’t said before because you don’t know how your dream client is going to respond.Get The Language Inside YouIt’s nice to be lucky, but it’s better to win by intention. If you are going to win by intention, you have to get the language you need inside your body. You have to be comfortable saying the words, lest you be afraid to say them.The way to get the language inside you is to say the words out loud to other people. But those other people do not have to be your dream clients, and you don’t have to learn everything on the playing field, nor do you have to learn everything the hard way. You can practice. You can rehearse.Practicing and rehearsing the language is how you get it inside you.Find a Study BuddyI absolutely love the question “Are you concerned about the price, are you concerned about the cost?” When used well, this is a powerful question. There are three or four possible answers your dream client may give you. But you will never be comfortable asking the question unless you know what the response is going to be and what comes next.Find someone else on your team who is as interested in improving their performance as you are. Make a list of all the most challenging conversations you need to rehearse. Take turns offering each other objections, resisting in a fashion that makes it much more difficult than anything you expect to hear from a prospective client.As you develop the language, rehearsing the words that you’re going to say out loud. When one of you does well, allow the person in the role of the sales rep to get the outcome they want. If they don’t do as well as they need to, push back and make them take another run at it.You know the difficult conversations you are likely going to have with your dream clients. You know what objections to expect. There is no reason that you should prepare for every conversation. There’s always room for improvisation when you’re prospect greets with something novel or unexpected, but that is the exception, not the rule.How you practice the game is how you will play the game. If you don’t practice, you won’t play the game as well as you are able.last_img read more

first_img Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now We can’t trust you if you tell us that you’re perfect. We don’t believe anyone is perfect. We don’t believe that anyone has developed to the point where there is nothing left to improve.We can trust you if you make things sound easy. If you downplay the financial investment or the investment of time and energy, it hits a sour note. We know that what we really want isn’t easy or we’d already have it.It’s very difficult to trust someone who has never made mistakes. That’s an indication that they have never really done anything like what they’re proposing, that they don’t understand the magnitude of the change the recommending, or they’re fibbing.We don’t believe that it’s a straight and certain path from where we are now to where we want to go, if only we will make the commitment you are asking us to make. Our experience tells us that the path isn’t straight, and the traveling isn’t easy. It sounds too good to be true, so we believe it isn’t.If we can’t see the flaws, if we can’t see the creases and the places where the seams are a little frayed, we doubt what we’re seeing is real. That manufactured perfection is not the same as authentic scars and scrapes.It’s very difficult to believe in a story where everything is perfect, because that’s not how stories go. There is always a dragon that is unconquerable, a villain who is indestructible, or some mountain that appears insurmountable. There is always a challenge, adversity, risk, and potential reward. But only potential, no guarantees.When you tell us about your limitations, your failures, your mistakes, and the eventual success you find only after you’ve learned and made adjustments, your vulnerability makes it easy to believe you.Perfection is a lie.If it takes you three times to get it right, then say it will take you three times to get it right. We’ll believe you.last_img read more

first_img Essential Reading! Get my 3rd book: Eat Their Lunch “The first ever playbook for B2B salespeople on how to win clients and customers who are already being serviced by your competition.” Buy Now Are you taking the actions necessary to produce that result?Are you taking any action at all? Are you doing enough of what needs to be done? If you are not producing the results you want right now, it’s likely that you aren’t doing so for one of the following three reasons:You are taking the wrong action.You are taking no action.You are taking too little action.Wrong ActionIf you aren’t producing the result you need now, it may be because you are taking the wrong action. I’ve heard Anthony Robbins describe this as “running West looking for a sunrise.”The wrong set of actions will prevent you from getting the results you want. You want new customers, but you invest your time researching instead of reaching out. You want better margins, but you continually lower your price to win new business. You want more margin in your life for the things that are really important, but you say “yes” to small things, which means you are automatically saying “no” to something bigger.Sometimes taking the right action means first saying “no” to the wrong action. If what you are doing isn’t working, it’s time to try something different.No ActionThe only thing worse than taking the wrong action is taking no action. If you are running West looking for a sunrise, at least you are running. All you need to do is turn around. Taking no action is the surest recipe for zero results!You want to try content marketing, but you sleep in instead of getting up to write a blog post. You desperately need new customers, but you spend your time on the internet instead. You know what the next, best action you need to take is, but then, there is Angry Birds, Candy Crush, or some other app that grabs your attention. So, you take no action.The remedy here is to start doing something. It’s better to take the wrong action than to do nothing. At least with the wrong action, you get feedback and you can make adjustments.Too Little ActionBig results require big actions. Sometimes you can be doing everything right, but just not enough of it to get the results you need.You’re making calls to new prospective clients. Yeah, like three calls this month. Of course, you didn’t win any new clients (too little action). You went out and exercised this week. Once. And you don’t feel any healthier. That content marketing plan? You wrote a single blog post seven weeks ago.Nothing works if you don’t. If others are producing the result you want now, it’s likely they’re taking a set of purposeful, tried-and-true actions to produce those results. It’s also likely they’re doing more of it than you are.Think about a result you want for yourself right now.last_img read more

first_imgWhen I was very young, I was asked to make cold calls for the family business. I had a little experience, having made cold calls for a charity a few years earlier, but I had had no training. I was, however, provided with a set of index cards that included a script and language to “overcome” any “objections” I might receive while dialing strangers.One of the first calls I made was answered, and the person answering hung up on me. I called my leadership team and asked what I was supposed to do when someone hung up on me. I was told, “Call them right back.”That didn’t sound like a good idea. First, the person had just hung up on me. That is not a sign that someone wants to continue any kind of conversation. It’s evidence that they are quite committed to not having the conversation. Second, and more importantly, calling back means making someone who is already unhappy that you called them even more unhappy. This would be creating conflict.I called back. Indeed, the person on the other end of the phone was miffed. He was in no way impressed that I called him right back. Nor was he moved by my strategy for starting the conversation over (something that I improved over time). But he didn’t punch me in the face, he didn’t yell me, and he didn’t hang up on me. Instead, he said no to my request for a meeting. That is all there was to that call, and it was one I would occasionally have to make while prospecting.Making the call, however, had the positive effect of eliminating the potential to become conflict-averse. It also helped me come to the idea that I was a peer to my clients, not some subservient, milquetoast order-taker.Do not read anything here as a license to go create conflict. You are better off creating an opportunity to collaborate than you are creating conflict that is not necessary.That said, you are going to have to deal with conflict if you work in business. You are going to be comfortable dealing with issues and challenges where there will be disagreements. Avoiding conflict is allowing tiny monsters to blossom into gargantuan monsters.When you need to have the difficult conversation, have the difficult conversation.last_img read more

first_imgPune: Anti-graft activist Anna Hazare hinted at launching another agitation to protest against Prime Minister Narendra Modi-led Central government’s failure to appoint the Lokpal, even after being in power for three years.Speaking to reporters at his native village, Ralegan Siddhi, in Ahmednagar district on Wednesday, the septuagenarian activist said he would announce the date of the agitation in a letter to Mr. Modi soon.He said his decision to begin the agitation was conveyed to the Prime Minister in a letter sent on Tuesday. However he remained vague on the date of the agitation. Mr. Hazare has withdrawn proposed agitations against the Bharatiya Janata Party (BJP)-led Central government in the past.He said, “I was silent for three years, but time has come to relaunch the agitation against corruption. Non-implementation of the Lokpal is a great insult to the sentiment of people.”Mr. Hazare said he still received numerous graft complaints from people across the country. He also attacked the Centre’s for it’s apparent indifference towards weeding out corruption and said that political parties are scared of losing power to the Lokpal.“I do not accept the reason given by the government to explain the delay. It has said that the committee to select the Lokpal cannot be constituted as the post of the Leader of Opposition, who is to be a member of the selection committee, is still vacant in the Lok Sabha. However, if the new chief of the Central Bureau of Investigation (CBI) can be appointed in the absence of the LoP, then why can’t the Lokpal be selected?” Mr. Hazare said.Lokayukta appointmentsHe added that Lokayuktas should have been appointed in all the States by now, even if the Lokpal could not be appointed in the absence of the LoP.“But even in the States where the ruling BJP is in power, the Lokayuktas have not been appointed. These [State] governments would have certainly followed the Prime Minister’s order, had such directives been issued,” Mr. Hazare said.Since Mr. Modi’s ascension to power in 2014, the anti-corruption crusader has locked horns with the Union government over several issues, threatening indefinite agitations and fasts. In 2015, Mr. Hazare cancelled his proposed foot-march from Wardha to Delhi in protest against the controversial ‘anti-farmer’ clauses in the Land ordinance Bill, due a drought in Wardha that year. The activist had differed with the Prime Minister over the legislation.He also attacked Mr. Modi over the delay in implementation of the One Rank One Pension (OROP) for defence personnel, by joining ranks with former servicemen in their agitation.last_img read more

first_imgThe Opposition parties will approach Rajya Sabha Chairman M. Venkaiah Naidu to protest against his decision to fast-track the disqualification process of Janata Dal (U) rebel leader Sharad Yadav. Leaders of six parties, who met at the office of Leader of the Opposition Ghulam Nabi Azad in Parliament House on Monday, decided to take up the battle on behalf of Mr. Yadav and another JD(U) rebel MP Ali Anwar. Mr. Yadav himself was at the meeting. Recently, Mr. Naidu decided to determine the question of disqualification on his own instead of sending it to the ethics or privileges committee, breaking away from tradition. In the Rajya Sabha, there have been nine cases where parties have moved disqualification petitions against their members. Out of these, seven were referred to the privileges committee and two members resigned before the pleas could reach that stage.According to sources, the Vice-President has based his decision on the time taken by the committee to dispose of the cases. He has argued that none of committees did anything substantial. He has called Mr. Yadav for a personal hearing on October 30. On Tuesday, Mr. Naidu is hosting his first lunch meeting with the Council of Ministers and floor leaders of both the Houses since he took over as Vice-President.last_img read more