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Bruno Schreck was spot on when he said If you love photography enough the equipment will come the portfolio will result and if you enjoy the process success will follow. You will evolve your own formula. Here is a list of the camera equipment that once served me well but is now retired. I then detail whats currently in my bag. Gear Graveyard Canon 6D The 11 autofocus points clustered in the center of the viewfinder quickly seemed rather antiquated. The built in wifi was nice as was the full frame image quality and ISO sensitivity. Still the camera was slow bulky and rather uninspired in both design and feature set. This was my last DSLR before switching to Mirrorless. I dont miss it. GoPro Hero 3 It died suddenly with no prior signs of malfunction. I discovered it a few weeks before a trip as I went through my routine gear check. I tried a fresh battery still nothing. I went online and found others were having the same problem. Turns out its so common that GoPro actually published a page of troubleshooting instructions. None of it worked. Canon 40D I had two of these and they were amazingly tough bodies made of magnesium alloy. I used them in horrific storms frigid temperatures and rain forests. The shutter did die on one of them and needed to be replaced. It shot 6 frames per second which was fast enough for birds in flight and sports. The downside was the LCDs poor resolution and the lack of a tilt screen. This was my favorite DSLR. Take an Online Photography Course Canon 10D This was my first DSLR and it didnt disappoint. While it was only 6 megapixels and topped out at 3 frames per second it was good enough to use for my first job as a photojournalist at Newsday. Its funny to reminisce about how I never dared to go above ISO 800. ISO 1600 was quite a noisy mess. Weve sure come a long way! Canon Elan 7 I shot slide film with this beauty and loved how quiet and stealthy it was. If I recall correctly it didnt have a spot meter so I had to use the partial meter. It was a joy to use though and the unforgiving nature of slide film forced me to really master in-camera exposure. Canon Rebel(Grey Market) Yes my very first film SLR and the camera store pulled a bait and switch. They showed me the silver USA model and then switched it out with the all black grey market model. I didnt know better and went with it. When I tried to pay with a credit card the salesperson repeated No no show me the green! Despite all of this I loved the set up and used it extensively to start learning exposure and composition. Other stuff worth eulogizing Canon 17-40 f4 Canon 70-200mm f2. 8 Canon 100mm f2.8 macro and the Canon 400mm f5.6. While all of this glass was truly high quality it also weighed 25-30 pounds. Long hikes up and down mountains would become painful and greuling after just a few hours. Study Photography Online ISO 50 Fuji Velvia slide film - seeing an image for the first time on a lightbox through a loupe was exciting. This film was vibrant and virtually grain free making it a lot of fun to work with. Many image editing software companies have tried to recreate this look ever since. Adobe Photoshop - its true I havent needed to use Photoshop in years. If I cant edit it in Lightroom then Ive done something seriously wrong. Whats in My Bag Now? In late 2015 I switched from a Canon Full Frame body to a smaller more portable micro four-thirds mirrorless system. Although larger sensors have their benefits I find the ability to carry a lightweight system to be invaluable especially for my travel photography. The image quality is outstanding and this has translated into more creative work and increased image sales. To manage and edit my growing collection of images I find Adobe Lightroom to be a superb tool. The Pen F is one of my favorite cameras and the one that gets carried with me most often. With its creative art filters monochrome modes and 20 megapixel sensor it has a full set of features in a super portable package. Want Chris As Your Photography Teacher? The EM1 MKII is a small powerhouse of a camera. Its the body I use most for wildlife and sports photography. With an amazing autofocus system and blazing speed its possible to capture the decisive moment even in high-speed action situations. With a weatherproof body it can withstand even the most demanding conditions. The comfortable grip also provides excellent ergonomics when using longer telephoto lenses. The OMD EM10 MKII is the most underrated camera in the Olympus line. It may not be as fast as the OMD EM1 MKII but its perfect for capturing scenics and landscape photography. Many of my favorite images from Iceland were captured with this body. Its challenging to find a lens that is both ultra-portable and of superior optical quality. The Panasonic 20mm f1.7 is a rare exception however. Known as a pancake lens due to its diminutive size it barely protrudes from the camera body making it a pocketable companion for everyday shooting. With its wide aperture its possible to create beautiful bokeh in the background while keeping your subject tack sharp. This lens is a constant companion to my Olympus Pen F. At just over 4 ounces the Olympus 45mm f1.8 is a lightweight phenom of a lens. With a classic 90mm equivalent focal length its ideal for portraits and tight landscape compositions. Its unobtrusive size makes it easy to blend in and shoot without drawing unwanted attention. At f1.8 there is enough light to shoot in dim conditions while also creating super shallow depth of field. The Olympus 12-40mm f2.8 Pro is capable of handling just about anything. Its sharp focuses fast and while not a macro lens has surprisingly good close-up capability. With an equivalent focal range of 24-80mm this is a travel photographers dream lens. Good things can come in small packages and this lens proves it. Built to last this has a weatherproof design making it usable even in the rain. If youre looking for an ultra sharp telephoto lens youll be hard pressed to find a better option than the Olympus 40-150mm f2.8 Pro With an equivalent focal length of 80-300mm this is the perfect telephoto lens for wildlife birds in flight aviation and sports photography. Believe it or not it also doubles as an outstanding close-up lens. Ive used it to photography insects flowers and butterflies with frame-filling success. This is always paired with my OMD EM1 MKII for a super fast combo. Take a Professional Photography Class When a little extra reach is needed the Olympus 1.4x converter is an outstanding addition to your kit. When paired with the 40-150mm f2.8 this becomes a 420mm f4 at the long end. This makes it powerful enough to capture clear images of distant wildlife and birds. A circular polarizer is one of the most important tools you can have in your bag. Not only does it make skies pop but it eliminates the glare on non-metallic surfaces. For dramatic landscapes the Hoya CPL is the way to go. For the last 10+ years Ive used one tripod the Gitzo 1325 Carbon Fiber model. It has taken a beating and is still in great shape. Finding the right tripod is no easy task as there are a lot of variables to consider. This one was the best balance of stability weight and ruggedness. Best of all there is no center column which makes it really simple to compose from the ground. Paired with my Gitzo 1325 is the Kirk BH3 ballhead. I prefer ball-heads to the traditional pan and tilt models which are hard to maneuver into position. With the ballhead you can put the camera in nearly any direction quickly. Can something as simple as a wrist strap change the way you shoot? I didnt think so but after trying one Ive made the switch! Better late than never I guess. The reason for the change is actually quite straightforward. When the camera is no longer strapped to your neck it frees you up to move it into more creative positions. Its totally secure so there is no risk of dropping or breaking it. Now I would imagine this gets a bit uncomfortable with a heavy lens but I use it with the Panasonic 20mm f1.7. By having the camera in my hand at all times Im ready for anything. Theres no denying that photography is a powerful art form just as painting music and sculpture are. If you look at the history of these disciplines youll find another similarity. Those who enjoyed long term success did so not by following current trends but by paving their own way. This of course is no easy feat perhaps best expressed by Alfred de Musset who said How glorious it is - and also how painful - to be an exception. Whether its your choice of gear or the subject matter you focus on throw out the rule book and follow your own heart.

Do your photos often come out blurry and you arent quite sure why? This is probably one of the most common complaints we receive from amateur photographers looking to improve their everyday compositions-Why are my photos coming out blurry? What am I doing wrong? Luckily there are a few really common answers to that question- so with some quick simple fixes you can easily mend this issue if its one you find yourself commonly faced with as well. 1. Is Your Shutter Speed Set Properly? If your photos arent coming out as sharp as youd like them to its very possible that your shutter speed is simply too slow. This is probably the most common cause of blurry photos and its such a simple fix. If your shutter speed isnt fast enough your photo will absolutely appear out of focus or blurred. The exact shutter speed youre going to need to select isnt one blanket answer we can give you to guarantee the best shot in all conditions- it really depends on the other settings youve made and what type of shot youre taking. But as a general rule of thumb for best results try not to use a shutter speed slower than 1/whatever your focal length is. So for example if youre working with a 70mm lens your corresponding shutter speed should not be slower than 1/70th in order to avoid a blur. 2. Is Your Camera Steady? Youve probably been told a million times that the easiest way toavoid blurry photos is to use a tripod or a remote cable release. While this may be true what happens if youre using both of these tools but your photos are STILL coming out blurry? Its important to make sure the ground your tripod is standing on isnt to blame. Depending on what setting youre working in- whether its the sidelines at a sporting event or a hiking trail in your local nature reserve if theres traffic or movement on the ground around the tripod your camera could easily be shaking on his tripod causing a blur. Be mindful of your location and find a settled still location if need be. Take an Accredited Online Photography Course 3. Are You Mindful of Your Surroundings? Believe it or not the weather conditions could also be the reason for your blurry photos- and were not just talking about the more obvious culprit of wind. If there are lots of particles in the air on an especially humid afternoon or if its extremely hot outside your photos could look blurry as a result. Unfortunately one of the only ways to avoid this is to check out the weather conditions before an outdoor shoot and reschedule accordingly if need be.

The relatively solitude nature of photography is arguably one of the things that draws so many creatives to the field For many spending the day in nature taking wonderful photographs is a very relaxing personal exercise and a way to slow down and unwind That being said when it comes time to transition your photography talent from hobby to career people skills are one of the most important facets of your workflow worth spending time on Working one-on-one with models and clients can be a little uncomfortable especially if youre a beginner While you want to help your clients pose and work towards the most flattering shot it can be hard to communicate instructions and advice in the middle of the session if youre worried about saying the wrong thing or embarrassing/ offending the models Take a Fully Accredited Online Photography Course While professional models might be more prepared and comfortable with a photographer-subject dynamic regular clients are probably going to look to you to lead the session To put things at ease right off the bat start by sharing your concept and ideal shot goals with your subject(s) For example if youre doing a maternity shoot with a couple- but what youre looking for is a more candid intimate mood let them know That way theyll probably dive into the session with that in mind and consciously pose less stiffly for example as they try to contribute to that candid look youve already told them you want The more you can communicate your ideas with them before you actually get behind the lens the less correcting and directing youll have to do once things get underway Beyond that its important to make sure your clients are as comfortable as possible before you begin Lets say you have your own personal studio for example and the shoot in question is taking place there When youre chatting with your clients before getting started ask them basic courteous things such as if the temperature is comfortable While you might like the heat turned up on chilly autumn days inside if your clients are uncomfortably warm and sweaty theyre not going to feel (and consequentially look) their best as a result Be mindful of the environment and adjust whatever necessary to prioritize the comfort of the ones being photographed

If youre a photography hobbyist or student and you think your shots are good enough to start sharing a great way to maintain consistent income is by selling some shots to stock photography sites online. Getting started here are 5 worth looking into: 1. Alamy- There are currently more than 60 million images and videos for sale on this site and with good reason- they give a whopping 50% royalty to photographers for each image sold. Oh and if youre an NYIP student? Theyll give you 100% commission on any sales you make for two years – no strings attached. 2. Shutterstock- If you work with Shutterstock you can still keep a copyright on the photos you upload which means a lot to those worried about creative ownership. The average user makes up to 30% royalty when their images are sold (usually $30 maximum). 3. iStock Photo- Most photographers only make about 15% royalty when their images are downloaded but if a certain picture of yours gains consistent downloads and popularity that percentage can jump up to 45. However if you sign an exclusivity contract (meaning youll only upload photos on iStock no other sites) they bump that 15% minimum to somewhere between 20-45% in reciprocity. 4. PhotoShelter- This is actually something you would integrate into your own website if you have one (if you dont learn to make one here). 5. Fotolia- Photographers working with Fotolia receive an average of 20-50% royalty on their sold images- and the site also boasts their immediate deposit convenience meaning you get that money right away.

We are in the midst of another massive shift in the photo industry with cameras becoming more affordable and cutting edge features such as built-in Wifi and clean ISOs up to 25600. It all reads very well on paper but none of it will make you a better photographer without the three essential Ps. Patience Practice and Pre-visualization. While these elusive qualities cant be stocked on a shelf they can be acquired through training. I challenge you to see past the marketing hype and use the camera you have right now to create images that youre proud of. The most powerful photography sensor available is not found in the camera but within yourself. The secret lies within your ability to recognize emotion and document it with a photo. It doesnt matter if youre using a DSLR Mirrorless camera point and shoot or smartphone. A memorable event transcends technology. Its difficult to predict when or where a great photo opportunity will arise. Only by heading out with your camera often will your percentage of keepers improve. Perfection is never the goal but simply doing your best is. Rather than settling for the same tried and true formula challenge yourself to try new techniques. Free yourself of the notion that professionals dont have bad days or take lousy photos. Its all a necessary part of the artistic process. As the Hall of Fame hockey player Wayne Gretzky said "You miss 100% of the shots you dont take." Before reaching any breathtaking vista you must first climb sweat and navigate around thickets. This type of persistence is equally important on the path to good photography. Even the greatest photographers of all time had outings that were less than ideal. Perhaps no finer example than this story from Ansel Adams. He just spent a frustrating day with several exasperating trials. Yet Adams wasnt discouraged noting that defeat comes occasionally to all photographers as to all politicians and there is no use moaning about it. He got back in the car started driving and soon found a majestic scene that would become one of his most famous works Moonrise Hernandez.

From concerts and baseball games to barbeques and beach days, we bet you’ll be spending plenty of time at snapshot worthy events this summer. But when you bring your camera along to public parties and occasions amongst large crowds, it’s important to use the best photographers’ etiquette. Often times in an effort to get the best shot, we forget to remember that others around us are trying to enjoy the show as well, and we might be stepping on their toes. To save you from social faux pas, we came up with a quick list of protocol you should generally adhere to: 1. Flash - Picture this- you’re at a beach wedding during sundown and there’s really low lighting. Is it okay to use flash? We vote no- when it comes to special events (especially those where there is likely a hired photographer there on the job), religious ceremonies, or intimate concert settings, you should respectfully avoid using your flash. The best way to gauge? If no one else (other than paid photographers working the function) is taking flash photos and your flash would be even slightly noticeable in an otherwise very dimly lit ambiance, it would be distracting to other guests and rude of you to use. 2. Photographing Strangers – If you’re in public somewhere (like on the beach or at a park), this can be a fun time to practice your portraiture- but would it be rude to take a stranger’s picture? In this instance, our advice is to simply ask. You might feel worried about seeming invasive, but just try to remind yourself that in the absolute worst case scenario, the subject could say no, in which case they’ll surely be glad you asked instead of just going for it. We recommend simply explaining that you’re a portrait photographer getting some practice and asking if they’d like to be a subject. If they seem hesitant or uncomfortable, don’t ask again or try to convince them. What we tend to find instead however, is that most people are excited for the chance to participate and flattered that you want to include them in your portfolio. If the shot comes out really well, they might also appreciate if you offer to email them a free copy of their own. 3. Special Events- To elaborate on the example used in #1, if you’re at a wedding or special event where a photographer has been hired to take pictures, is it rude of you to also unpack your camera gear and start capturing your own shots? It really depends on the preferences and comfort level of the professional, and we strongly advice you politely introduce yourself and ask. Simply explain that you’re a friend/ relative of the guest of honor, you’re a photography hobbyist yourself and that you’d love to take some pictures for your own collections or to share with others. If he/she tells you this makes them uncomfortable, you should respectfully refrain. Generally speaking, you can use your own judgement to decide whether your photoshoot is impeding on a special event or distracting the people around you. For the most part, we find that other professionals are excited to meet another photo enthusiast, and that pedestrians are happy and flattered to be included in your shots. Just remember to be polite, and to always err on the side of polite caution by introducing yourself and asking permission before you get started.

As we all know, great lighting technique can make or break a photo. So as aspiring professionals, one of the best things you can do is learn as much as possible about different lighting setups for photography Before diving into artificial lighting techniques, we recommend you fully master your ability to work with natural light. You should understand all the qualities of light, how to identify them and how to use them to your advantage. Once you’re comfortable with natural light, it’s time to expand your compositional arsenal to include artificial lighting setups and techniques. You’re probably already familiar with flash photography- a camera flash is something even the most amateur of hobbyists can associate with taking a picture. But what about equipment that emits light the entire time they’re being used- not just in brief bursts? That’s what continuous lights are for. These expert photography tools are extremely powerful and provide photographers with great flexibility because of how portable they are. In the past, these lights were so strong that they’d actually get incredibly hot to the touch while being used. Luckily, technology has come a long way and there are now super convenient continuous lighting units on the market today that are cool to the touch no matter how long you’ve been working with them on. Generally, a continuous light isn’t something you’d likely use during a nature photography shoot, when capturing the natural light is part of the ambiance you’re trying to encapsulate in your image. However, they can be incredibly helpful for say, a wedding held in a dimly lit interior venue where it’s otherwise incredibly hard to capture partygoer’s faces without some supplementary gear. Learn More about Lighting for Photography Beyond that, continuous lights are really popular among portrait photography professionals. Since they’re really portable nowadays, it offers a lot of creative freedom when you’re working in a studio. You can really move the unit around, raise or lower it, readjust it’s angle, then gaze through your viewfinder to see exactly how the lighting you’ve created will look, all before ever clicking the shutter.

News About Photography And Videography

Shooting Video with an iPhone


Shooting Video with an iPhone

Apple has come a long way since introducing video recording with the iPhone 3Gs. The newest iPhones can shoot stunning 4K footage but if you just pull your iPhone out of your pocket and hit record you wont take full advantage of everything this powerful camera can do.
The following are some quick tips for getting the most out of your iPhones camera.
1. Use a tripod
The newest iPhones have built-in optical image stabilization which makes shooting decent handheld footage fairly easy. But no matter how steady your hands are nothing beats using a good old-fashioned tripod.
Our favorite iPhone tripod adapter is the Joby GripTight which is around $20. Its barely big enough to hold the iPhone 7 Plus but it does work.
If you are stuck shooting handheld here are some tips to help you stabilize your shot
• Keep the phone close to your body.
• Rest your elbows on a nearby object.
• Use your body to absorb bounces and shakes.
2. Dont use the iPhone digital zoom
Unless you have the dual-lens iPhone 7 Plus avoid the temptation to use the iPhones built-in camera zoom. Since the lens isnt zooming optically youre just enlarging the picture digitally which means you will quickly enter the world of unsightly pixelation.
If you want to get a closer-up shot of your subject move the phone closer until you find the perfect shot!
3. Light your video
Your iPhone footage will look best when you shoot with lots of light. If youre shooting indoors adding supplemental lighting will go a long way.
The built-in camera flash on the new iPhone will never compare to using off-camera lights. You can use professional video lights in a bunch of different ways. The Westcott Ice Lightsare some of our favorite versatile lights but if youre on a budget you can also hack together a decent lighting kit from Home Depot for under $100.
If you cant get your hands on any studio lights but youre still shooting indoors position yourself facing a window and use the sun.
4. Use the exposure lock
The iPhone will automatically focus and expose your shot. This can be a great function for quick photos but when youre shooting a video of one person talking to the camera it can really complicate things. The iPhone tends to keep adjusting and refocusing which can lead to jittery-looking footage.
Thats why we recommend using the exposure focus lock. This will help to keep the focus and exposure constant throughout your shot.
5. Get your microphone close to your subject
A general rule for clear audio is to get your microphone as close to your subject as possible.
When youre shooting video with an iPhone its best to position a second iPhone directly above the subjects head to record clean audio. Creating a simple voice memo will do the trick!
Another option is to use an external microphone. You can plug a powered mic like the Sennheiser ME66 into an XLR microphone adapter and itll send the audio from the microphone directly into your iPhone.
Pro Tip Clap once at the beginning of each take to create a reference point for syncing the good sound from the voice memo with the bad sound from the video recording.
6. Slow-motion and time-lapse
You can get some amazing shots with the iPhones built-in slow-mo but make sure the choice to slow down the action is motivated. A shot of someone skiing will probably be great in slowmo. A shot of someone typing on their computer on the other hand might not be so interesting.
In the camera settings you can choose to shoot 120 frames-per-second at 1080p resolution or 240 frames-per-second at a reduced resolution of 720p.
Time-lapses are a cool way to showcase a bustling work environment or event. Here are some handy tips for capturing a seamless time-lapse video
• Put your phone on a tripod.
• Lock the focus and exposure for smooth and natural lighting changes.
• Put your phone in airplane mode before you hit record.
7. Edit on your computer
There are some pretty cool editing apps available for the iPhone but they still dont beat editing on your computer. When you finish shooting plug your phone in offload your footage and import your videos into your editor of choice.
If youve never edited a video before theres never been a better time to start. The iPhones camera combined with some minor editing can unlock some serious potential. Plus free tools like iMovie have made editing easier for everyone.
Use the camera you have
If you thought you needed to go out and buy a DSLR to make a video think again! Sometimes the best camera is the one you have with you. ... more ...

Buying Guide: Cameras for Student Filmmakers


Buying Guide: Cameras for Student Filmmakers

There is no better time to be a student filmmaker! Camera technology has been advancing by leaps and bounds and at a furious pace Even smart phones have superb cameras with video capabilities that are astonishing The newest iPhones shoots 1080p up to 60 frames per second with an f/22 lens and up to 240frames per second at 720p all with video stabilization
I will admit I love camera gear and making lists like this is fun but I want to state the obvious because often many filmmakers ignore the obvious and get hung up on the tools over the story Great stories do not need to be filmed with a $100000 camera a crew of hundreds and a budget in the millions Story acting lighting sound costume (and craft services) are integral to making your film a success However without a camera you wouldnt be able to capture your film so I have compiled a list of cameras in the lower end of the budget range for students — no Red Epics or ARRI Alexas here
Interchangeable lens cameras – DSLRs and Mirrorless cameras
Offering a lot of bang for the buck and a beautiful image when paired with a great lens these cameras have been used on productions that have won Oscars and Sundance awards They have the flexibility of giving you different looks by accepting different lenses and allowing you to have the much sought after shallow depth of field Dont overlook third party lenses for these cameras some lenses being produced by Sigma Tokina and other manufacturers are nearly as good if not better at a much lower price As these are primarily still cameras the audio that these cameras record is not great I suggest looking into either getting a better microphone to attach the 35mm jack or recording the audio externally using higher quality XLR microphones and a portable recorder
Canon 5D Mark III
This camera is the most popular DSLR currently being used There are loads of great lenses that you can use with this camera and this version now comes with a headphone jack and better low light capabilities Since this camera has a full frame sensor which allow you to get the full benefit of a larger selection of older lenses as well as vintage manual focus lenses which are ideally suited for video and can be a bargain This is a great choice for both stills as well as video and will serve you well for years to come
Canon 70D
At under $1000 the Canon 70D packs a great punch It has an APS-C sensor which adds a 16X crop factor to any full frame lenses making the wide angle lenses not nearly as wide There are quite a few lenses made for this sensor but the best glass is primarily designed for full frame sensors While these are the trade-offs for the lower price there are benefits not found on many other cameras There is a flip out touch screen LCD screen that allows you to pull focus by touching the screen which is a very exciting feature If you are on a very tight budget this camera will definitely make you happy The first lens I would get for this camera would be a constant aperture lens such as the Sigma f/28 17mm-50mm

Sony a7S
The Sony a7S is a camera that has incredible low light performance in a small lightweight form factor that has made it a very exciting option for many filmmakers This camera has a full frame sensor that soaks up the light Being able to use choose a higher ISO while introducing nearly no digital noise allows for a ton of flexibilitySony has partnered with Zeiss to create excellent tack sharp lenses and while there arent yet tons of lenses for this E-mount Zeiss is expanding the range and will be hitting the missing focal lengths in short order Other features of this camera that stand out are focus peaking the X-AVC codec at 50 mb/s uncompressed 4K and 1080p via HDMI (this requires an external recorder) and S-Log which is a flatter profile allowing for greater latitude in post This is a phenomenal camera that will give you the ability to shoot in conditions that previously would have been impossible or had so much noise as to render them unusable
Panasonic Lumix DMC-GH4
The Panasonic GH4 is another great camera for those with a very limited budget as the body is now $200 off for a cost of $149799 This camera can record 4K video at 100mb/s internally which is a tremendous feature in this price range The images and details in the video that this camera produces are freaking outstanding! It is extremely sharp and at 4K that is a lot of information but the compression is very good so you are not going to have to invest in tons of storage space The benefit of shooting in 4k is that you are future proofing yourself as well as giving yourself the ability to push in significantly and reframe for 1080p projects This camera also has a greatelectronic view finder and a touch screen flip out OLED screed Battery life on this camera is phenomenal The camera can shoot at 96 frames per second at 1080pWhere this camera cant compete with the Sony a7S is in low light performance That is the only compromise for this camera

Cinema Cameras
Using a cinema camera is ideal in that you are shooting on a camera designed for shooting movies These cameras have built in features that make the shooting process easier as well as giving you more flexibility in the edit This segment of cameras used to be prohibitively expensive but in recent years there has been a wave of cameras that have made recording films using high quality yet relatively inexpensive cinema cameras a reality
Canon C100 Mark II
This second revision of Canons very popular C100 gives you features that will make your life much easierboth when shooting and in post all while keeping your gear more compact It has 2 XLR inputs attached to a top handle which lets you get higher quality audio as well as having better ergonomics for handholding out of the box built in ND filters and Canon Log gamma and Canon LUT support via the HDMI out Since this camera was built with filmmaking in mind you dont need to purchase much of the external gear you would need to add on to the cameras listed above to get good audio and make the camera more stable for handholding The C100 Mark II shoots beautiful images and is a robust camera ... more ...

?How to Become a Videographer


?How to Become a Videographer

Videography is a competitive field that requires ambition technical knowledge and creativity You can prepare to become a videographer by getting the right education and experience under your belt Once you enter the field you can work on finding jobs building a portfolio and developing a unique style Videographers look for careers with movie studios and directors television stations news agencies and other media companies with universities courts and other public institutions as social media consultants or documenting events such as weddings ... more ...

8 Tips for Beginners


8 Tips for Beginners

Its time You have the assignment your script is approved youve checked the camera out of the classroom and youre ready to go in the field.
This is going to be great! Youre ready to get out there and spread your extraordinary vision to the rest of the school. But maybe youve never shot any video before. What do you need to know to effectively communicate your ideas to your audience? If youre just starting out there will be lots of tips in this article that will help you avoid the distractions that can ruin even a well-thought-out video presentation. If youre in the more advanced class read along anyway while smugly assuring yourself that youre doing everything exactly right and could teach the class yourself.
Beginner Mistakes

First avoid the beginner mistakes that nearly everyone makes when they pick up a video camera . The worst ofender is the constant zooming and panning that pervades every shot. Before you reach for that zoom control think about why youre doing it. Do you really need to get a closer look at your subject? Or are you just playing around with that zoom because you can? If you cant think of a really good reason to zoom or pan dont. Keep in mind some directors like Spielberg and Hitchcock have shot entire feature films without zooming one single time. Instead of zooming consider stopping tape and moving in closer to your subject. Then you can edit it later. If you must pan (moving from side-to-side moving up or down is called a tilt) move slower than your instincts tell you to. Almost every beginner video has a pan that is so fast that it elicits laughter among the initiated. And by the way dont call what youre doing with that camcorder filming. Youre not filming anything. Look inside the camcorder. See any film in there? Youre using video so call it shooting video or taping.
Lens Characteristics

Remember that when youre zoomed all the way out youre dealing with a shorter (wide-angle) lens that has different visual characteristics than a long (telephoto) lens. The short lenses give you more depth of field that is objects in the background are in focus as well as those in the foreground. A shorter lens also makes it so that objects are closer than they appear (thats why that phrase is printed on rearview mirrors -- which are in effect like wide-angle lenses). Use a short lens when you want to see everything in the frame focused. Also use a short lens when youre trying to hold the camera steady -- the longer the lens the more difficult it is to avoid shaky-cam. On the other hand a longer lens will have less depth of field but can be very effective if you want to have your subject in focus while the background is out of focus. Try an experiment to illustrate this concept Frame up an object and as you walk toward it keep it the same size in your frame by zooming out as you walk. As you get closer youll see the background coming into focus as your subject seems to mysteriously gain depth. Its a wild-looking effect called foreshortening that will instantly show you the differences in lenses and their focal lengths.

Heres another common beginner mistake Shaky-cam. Of course some highly professional music videos and commercials have elevated shaky-cam to an art form and if youre going for that effect more power to you -- shake away! But the majority of the time you wont want that shaky look in your videos. Do yourself (and your viewers) a favor. If you havent already invest in a good tripod with a fluid head so your shots will be rock-solid and your moves smooth.

How many home videos have you sat through where everyones heads are cut off? When youre taping keep in mind that theres a phenomenon called overscan in nearly every consumer TV set where it cuts off about 10% of the top bottom and sides of your carefully-framed shots. Allow for that while youre shooting. When I was first starting as a studio camera operator I would always allow the width of my pinky finger between the persons head and the top of the frame and that would end up giving the perfect amount of head room for viewers at home. But we were using five-inch studio viewfinders on our cameras. A pinky-width would be entirely too much headroom for a DV camcorder . So experiment with it. Take a few shots noticing the amount of headroom youre allowing then look at it on a TV set. Try not to overdo the headroom though -- youll end up with your subject appearing to be sitting in a hole with tons of space over hisher head. That is equally amateurish. You can always tell a pro shooters work by the amount of headroom allowed.
Shooting an interview

In home videos its all too common to see someone talking directly into the camera at great length while being interviewed by the videographer. Think about it How many professional presentations have you seen that are shot this way? Not many? The solution Shoot it interview-style just like pro news shooters do every day. Enlist the support of one more person as your interviewer or get someone else to shoot and you be the interviewer.
The first thing to remember while shooting an interview is to always shoot your subjects face straight on not in profile. You need to be able to see both the subjects eyes in the shot. OK if you really want to get artsy shoot the person in profile but if you do please allow some breathing room in the direction your subject is looking. If your subject is looking left pan a bit more to the left -- its a more esthetically pleasing shot. But for the straight-on interview have your subject look at the interviewer not the camera and place your interviewer next to the camera lens. That way youll see your subjects face full-on. Frame up the subjects face and shoulders but not too tight. Occasionally slowly zoom out to include the interviewer in the foreground.
Then after the interview is done take shots that are called cutaways and also take a few reversals. Cutaways sometimes called noddies are shots of the interviewer listening to the interviewee or shots of what the subject is talking about. Get a variety of these shots both singles of the interviewer and over-the-shoulder shots of the interviewer with the subject in the foreground. Heres where you can fake that interview with yourself in the shot as interviewer. Just place your camera (on its tripod) on the other side of your subject and frame it up on yourself listening with the subject talking in the foreground. Try not to show the subjects lips to be seen in these shots so you can fake these shots in editing. Then try shooting some reversals where the interviewer re-asks the questions asked during the interview. You can cut these in later making it look like you used two cameras. Finally if your interviewee was looking slightly left screen have your interviewer in the reversals looking slightly toward the right of the screen. Youll see the magic happening when you edit all this together. Wow. Its fake but looks real especially if you do it right. After an attempt or two youll get pretty good at this.

Keep in mind that when you look at a camera shot (or anything else for that matter) youre actually looking at reflected light. So get a lighting kit with at least three lights in it and the improvement in your video quality will make you feel like you just upgraded your camera. Good lighting makes even lame camcorders look passable. A basic lighting setup would include a key light placed close to the camera a fill light aimed at the subject and set up on the other side of the camera and a back light behind the subject to set himher apart from the background. Be careful not to have the back lights stand in your shot. If you have more lights place a blue or amber gel on another light and point it at your background. Youll see a great difference with just this one colored light brightening up the background. When shooting outdoors the best look is to shoot in the shade but use a reflector to add some punch.
Shooting For the Edit

The best shooters are always thinking about how their shots will be used in the edit session. For instance if your subject is talking about swimming make the effort to get some shots (called b-roll) of people swimming or better yet the subject swimming. The most prevalent problem editors complain about when sifting through b-roll footage Theres never enough. Its hard to get too much B-roll footage. When youre shooting a flower for instance stay on that shot about five seconds longer than you think youll need. That way youll have more options in the edit session. Thats the key to shooting for the edit Allow yourself as many options as you have time to shoot. Every edit session weve ever done has moments of serendipity where someone thinks of something we hadnt planned and thats usually the best part of the final product. Allow for these insights. Give yourself options.
Close-ups and Backgrounds

Heres probably the number-one beginner mistake both in still photography and videography The shots are all too wide. Get in there close to your subject. Were not talking about shots that feature nose hairs. But if youll just move in a bit closer and eliminate things in the shot that arent imparting any information your shooting will be a lot stronger. Remember youre communicating and the video frame is limited. You get to decide what goes into that limited space. Dont waste it by showing us an expanse of carpet or a huge blue sky (unless youre going for a special effect). Use that precious space to show us a loved-ones face for example. The best side effect of this is generally the tighter your shot the higher the perceived video quality -- theres usually more detail that needs to be reproduced in a wider shot.
Finally choose your backgrounds carefully. Avoid anything thats too busy or moving. Even when dealing with lightly compressed DV footage the less compression necessary the better your video will look. Try not to have any distracting elements in the background. Sure that plant is beautiful but if you place it right behind someones head theyll look like theyre wearing some kind of absurd plant headdress. Another suggestion Add some splashes of color to the background without getting too distracting. A little bit of color goes a long way toward creating an attractive background. ... more ...