Once you start doing a lot of video editing, watching your favorite movie or TV show is never quite the same. The way dialogue scenes are cut together, the framing of characters in a shot, and of course scene transitions. In this supercut from the popular TV Show "Stranger Things," see how the editor used a variety of cuts to create compelling transitions.
Articles written by Mike Wilkinson
The rumor mill in Panasonic user groups has been buzzing the last few months, speculating on what the next iteration of the very popular GH4 would look like. Today at Photokina 2016, Panasonic came through and announced some major specs and release dates for the highly anticipated GH5, and even had a prototype to show.
In case you haven’t seen this video pop up yet in your social media feeds, check out Comedian Buddy Bolton sneaking up on unsuspecting pedestrians who have stopped to take a selfie. Instead of photobombing though, he had a different plan: cutting their selfie stick in half with gardening shears.
Just three days ago, the new Canon 5D Mark IV dropped, and while it's a great stills camera, all of the talk has been about what it can and can't do in the video department. This video takes a much closer look at many of those features in the Mark IV, going through menu functions and showing examples. I've included a list of the topics covered along with their time in the video within the article below.
In this video from Aputure, Director of Photography Julia Swain is invited to share her techniques for lighting a dinner table scene, which are common to film productions, but also have applications in the corporate and documentary video world. After the video, check out some of my own personal examples from lighting a similar setup, but instead for a corporate roundtable with an all black background.
Lofoten, Norway has been getting a lot of attention in the last few years, and rightfully so. Known for its incredible mountains, open waters, and unspoiled lands, it has quickly become a favorite for photographers looking to capture dramatic landscape images. Australian filmmaker Michael Fletcher took two trips here recently and came away with a fantastic aerial film, captured during the season of the midnight sun.
The filmmakers of “The Muir Project,” known for their first documentary, “Mile… Mile and a Half,” have just released their latest film, “Noatak: Return to the Arctic.” I interviewed Director Ric Serena who told me about the production challenges his team faced when working on a remote river deep in Alaska and why they chose to go with the Canon 1DC as their camera of choice.
I’m a huge fan of gimbal stabilizers, and absolutely love how easy it is to get dreamy, floating footage with these relatively inexpensive accessories. A lot of attention has been on products like the MoVi and Ronin, but other manufacturers have stepped up their game and are making products that are just as competitive in terms of features and price. One such item is the Moza Lite II, which I’ve been reviewing for the last few weeks.
In this video from Ryan Connolly over at Film Riot, he takes viewers quickly through an action sequence he has edited, and shows a few simple ways that he was able to increase the perceived speed and create a more realistic edit. Even if you're not editing fight scenes, there are a few tricks in here that are absolutely applicable to other genres.
I know that I’m preaching to the choir when I say that personal projects, free from the constraints of commercial clients dictating production details, are an important outlet for creativity and staying sharp on your skills. Photographer Ray Demski just dropped his latest passion project, "Fireball," combining parkour, football (soccer), and beatboxing.
Pelican cases have long been an industry standard for top-of-the-line protection of cameras, lenses, lights, hard drives, and all other forms of fragile video or photo gear. Their new “Air” line of cases bring that same protection, but at a lower weight. I got to try the Pelican 1535 Air out and see how it performed on a travel video job.
Any seasoned filmmaker or photographer will tell you that it’s not the size of your camera, sensor, or lens that matters, but how you use it (or craft your supporting elements like lighting, composition, etc.). But what I’ve come to realize is that size does matter– because impressing a client on set is just as important as impressing them with the final product.
Storing and transferring data from a shoot is an important, yet often overlooked detail when it comes to on-location projects. When juggling multiple cameras, each with multiple cards, it becomes critically imperative to be 100 percent sure that all of your photos and videos are accounted for. In this video, Jay P. Morgan shares his workflow for wrangling data and making backups.
For years I’ve heard people saying, and probably have said myself, that if you chase your dreams, find your passion, and only do what you love, you’ll never work a day in your life. But do you really have to? Should you? This video provides an interesting counterpoint to that concept.
Going from A-list celebrity headshots in Hollywood to swimming with sharks in South Africa in 72 hours, photographer Michael Muller seems to balance his commercial work with his personal work quite well. In this behind-the-scenes video, we get to come along with Muller as he attempts to capture a great white shark breaching the water — while being lit by strobes.
When National Geographic calls and asks you to take on a project that involves capturing one of the most photographed places on the planet, how do you come away with something new or unique? Six photographers took on this challenge and shared their stories and images in this short video.
When traveling (flying, to be specific) for a photo or video job, there’s a lot more planning and logistics that go into being prepared for not only the job, but living out of a suitcase, sometimes without the support of people available to help you. I’ve put together a checklist of things that I often need to consider when traveling for a gig.
I love simple, easy to implement solutions to a common problem. The problem in this case, is using any sort of ND, polarizer, or other lens filter on wide-angle lenses that don't have filter threads. Sure, there are filter holder solutions but those can be a bit pricey for a hobbyist. In this video from MrCheesyCam, we're shown a simple way to DIY a filter onto a lens with some tape and card stock.