JVC today announced the availability of a new 3D consumer camcorder, the first on the consumer market that offers 3D video recording in Full High Definition. The new JVC GS-TD1 uses two camera lenses and two imaging sensors – one for each lens – to capture three-dimensional images in much same way that human eyes work.
3D video shot using the GS-TD1 can be viewed in 3D on any 3D TV. What’s more, the camcorder can shoot 3D video that can be burned to a Blu-ray disc or DVD-R for 3D playback on a compatible Blu-ray player.
The camcorder uses a F1.2 JVC 3D Twin HD GT Lens that sets a new standard in high-resolution lenses, with extra-low-dispersion glass for crisp, high-contrast images, as well as multiple aspherical lenses for fine image reproduction. The combination of the fast F1.2 lens and the back-illuminated CMOS sensors provides the GS-TD1 with outstanding low light performance. The GS-TD1 also features round iris diaphragms that enable beautiful bokeh effect (background blurring) shooting of video and stills alike.
Lowel Lighting have posted another excellent lighting article, this time explaining how soft lighting affects the subject of your photo/video.
Soft Light Explained
A soft light source would be one that appears larger in relative size than the subject being lit. Being larger than the subject, the light source is covering it from a greater angle and, as a result, filling in more of the potential shadow areas.
This effect is called wrap around lighting, because the coverage of the light source appears to wrap itself around the subject. A light source that is smaller than the subject cannot wrap light around it and fill the shadows.
While shadowless, or flat, lighting can be a legitimate lighting style, light that is too soft can rob an image of its sense of dimension and depth. The shot lit by the overcast sky is an example of this.
Don’t forget that your image is 2 dimensional, and you are giving the illusion of depth thru the creative use of shadows and contrast. These details are also what give the viewer clues about the form and textures in fabrics and food; or surfaces like weathered wood and rough stone.
Lighting is not always either hard or soft. There is a whole range of creative possibilities in between these 2 extremes. Note the visible differences in the shadows behind the 2 statue images above. Moving the soft light back created a smaller source, making the effect of the output harder and the shadows stronger.
Convergent Design today unveiled Gemini 4:4:4, a revolutionary uncompressed video recorder/player. Gemini enables videographers and cinematographers to capture at the ultimate video quality, in a small, low-power, lightweight package, at a very affordable price. Gemini features a built-in high-brightness 5.0” 800×480 24-bit LCD touch-screen for monitor and playback, and introduces an industry first – the ability to simultaneously record to two removable solid-state drives – creating instant backups; an invaluable insurance against lost footage, as well as, opening new workflow options.
AJA Ships Ki Pro Mini Portable Flash Disk Recorder
Miniature 10-bit 4:2:2 file-based recorder mounts easily on digital cameras and accessories
AJA Video Systems is now shipping Ki Pro Mini, the smaller, lighter version of its breakthrough portable tapeless recorder that captures to the Apple ProRes 422 codec directly from camera. With its miniature form factor and ability to mount easily to a range of digital cameras and accessories, Ki Pro Mini makes for the smallest camera and recorder package available for the capture of high-quality 10-bit 4:2:2 files that are immediately ready for editing.
Ki Pro Mini bridges production and post, effectively eliminating log and capture. It supports SDI & HDMI cameras and key features including:
10-bit full-raster recording to Apple ProRes 422 SD and HD formats (including HQ, LT and Proxy)
Recording of SD/HD files from digital video cameras to Compact Flash (CF) cards
Mac OS X friendly media and native QuickTime files–no log-and-capture required
Professional video connectivity through SD/HD-SDI and HDMI I/O
2 channels of balanced XLR audio with switch selectable line/mic levels
8 channels of embedded digital audio over SDI and HDMI
Flexible control options including familiar front panel and web browser interfaces
Simple, plain-language file naming
Optional Ki Pro Mini Mounting Plates that attach to hot shoes, battery plates and virtually any other accessory bracket
Optional Mini Stand for convenient desktop operation
Aircraft-grade aluminum construction that delivers light weight and maximum ruggedness
Ki Pro Mini is a key component in a streamlined Apple file-based production-to-post workflow, recording native Apple ProRes 422 QuickTime files onto CF cards, which are formatted as HFS+ volumes that are instantly connected to a Mac computer via off-the-shelf CF card readers. It includes two CF card slots, one active and one standby, enabling users to switch from one card to the next at the push of a button for non-stop, run-and-gun recording.
“AJA Ki Pro is the smallest, simplest way to connect production and post, anywhere people want to shoot,” said AJA President Nick Rashby. “It’s smaller than some battery packs and mounts to virtually everything. And like all of the AJA products, Ki Pro Mini delivers unparalleled I/O quality.”
Proper use of lighting for photography is one of the key items that separates amateur photographers from the professionals. In this great video, Bill Simmon explains just how to set up lighting for photography using the 3-point lighting technique.
Freddie Wong is a video production and special effects guru, who has one of the most subscribed to channels on YouTube. Below is just one of his amazing videos, and a behind the scenes look at how it was put together.
What camera do you use?
We use a variety of HD cameras – basically whatever we can borrow and whatever happens to be available. We’ve used, in the past, everything from the Sony EX1, the Panasonic HVX200, and the Canon 5D/7D/550D.
What software do you use?
It depends on what we’re doing – for video editing, we use Final Cut Pro, and for effects, we use Adobe After Effects. But I’ve made videos with everything from iMovie, Windows Movie Maker, Avid, and Final Cut Express.
We also have Adobe After Effects CS5 for Mac and Windows. You can download a copy of Windows Live Movie Maker here.
Where do you get your sounds? Where do you get your gun sounds?
Sounds are from a variety of sources. I have a fairly big library of things I’ve recorded myself as a result of needing certain sounds for different projects. I also use a few sound effects libraries. For gun sounds, I would recommend you look at video game sound effects replacement packs – things like replacement gun sounds for TF2 or Counter Strike – those are a good place to get some meaty gun sounds.
Where do you get your music?
Usually the music is composed by myself using a combination of software samplers and recorded guitar/bass in Logic Pro. Occasionally I’ll dig into a royalty-free sound library like the music samples from Soundtrack Pro or Pro Scores by Video Copilot.
You can purchase over 1000 professional sound effects here and here, but there are also a fewgoodsites with free sound effects to get you started.
Other equipment you may need
Once you start to get more serious about video production, you’ll want some serious equipment! Below is a list of common studio equipment that you’ll want get your hands on