Posted tagged ‘john pagliuca productions’

Video Book Trailers

June 25, 2010

My background in video and film has lead me back into creating productions, including  video book trailers for noted author Diane Chamberlain.  One video trailer, “Secrets She Left Behind“,  was featured on the writer’s social media site Red Room last year, while the most recent, “The Lies We Told”, shown at the top of this post, was recently featured on the UK media site, NME.

They’re a lot of fun to do, especially coming up with an approach to interest viewers in the book without giving away too much of the story, all in less than  two minutes!

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Convergence of Video and Still, Part 2

June 24, 2010

Canon 5D MK II being used on the set of "House". Photo Courtesy Greg Yaitaines and Philip Bloom.

OK, last time I talked about my experience using a Canon 5D MK II DSLR on location to shoot both stills and video.  The 5D is an amazing tool, shooting both high-definition video at a number of different resolution and frame rates and huge, beautiful 21 megapixel still images, switching between the modes almost seamlessly.

Since the introduction a few years ago of professional video/still DSLRs, a community of filmmakers and bloggers  has sprung up, using these cameras to create amazing work.

One of my favorites is Philip Bloom, a UK-based filmmaker who makes films using DSLRs, primarily Canons.

Another is Shane Hurlburt, ASC, cinematographer on this fabulous short, “The Last Three Minutes,” shot entirely on a Canon 5D MK II.   Almost as entertaining is his story of the making of this film.

Equipment manufacturers such as Zacuto are also turning out all kinds of specialized equipment for DSLRs, and adapters to use the cameras with more traditional film and video equipment.

And, recently the Canon 5D was used to shoot an episode of the Fox medical drama, “House“. Pretty impressive for a camera that sells for about $2,500.  The picture above was taken on the set of this episode, and is used courtesy of  Greg Yaitainis and Philip Bloom.

The Convergence of Video and Photography

June 17, 2010

Marines conducting field medical drills at Camp LeJeune, NC.

I’m very excited about how motion media and still images – video and photography – are converging in the latest generation of hybrid cameras that shoot video footage as well as do traditional still photography.  Cameras such as the Canon 5D Mk II, the Canon 7D and the Nikon D300S break down the boundary between video and stills and provide truly amazing capabilities at a reasonable price.

Last week, I shot my first video/still assignment using a Canon 5D MK II DSLR, and it was wild. Non-stop, run-and-gun video at Camp LeJeune of Marine medical drills staged in an open field under blazing sun, running in and out of medical tents following  stretchers that were carrying make-believe patients. The 5D performed like a champ, delivering beautiful, well-exposed hi-def video in conditions ranging from bright sun to near darkness. A great feature of the 5D is that you can take a still photograph while it is recording video, and return automatically to recording video. Very cool!

The new equipment does, however, upset the established division of labor for both video shoots and still shoots. Before hybrid cameras, you needed a still camera to capture stills and a video camera to capture video. On location, this usually meant a video crew of at least two or three people: camera operator, sound recordist, and producer/director; and a still photographer. Now, agencies are trying to squeeze this down to one person with a hybrid DSLR tasked with both jobs.

Shooting both stills and video with a DSLR can be challenging for one person to do, especially in a fluid, fast moving  environment where that person has no control over events.  When to shoot video? When to shoot stills?  Shooting stills with a Canon 5D while it is shooting video is easy, but it interrupts video recording for about one second.  Will that second contain important action?

As well, the on-board microphone is really only good for recording a background sound track;  it also picks up all of the camera handling noise.  A remote microphone is needed for a good sound track, either a wireless or a directional mic that mounts in the camera’s hot shoe. Now, that one lone photographer/videographer has a lot of balls to keep in the air!

Nevertheless, I’m convinced that this is the future of video/photography, and photographers and videographers will need to learn each other’s  job and become good at using the this new equipment.

Do You Color Outside The Lines?

November 7, 2009
IMG_3003
New York skyline, approaching storm.

Profiles.  They can be good or bad, your left side or right side, or what you write about yourself on Facebook.  But in digital printing,   profiles are part of the the glue that connects the colors your digital camera captures to the colors in your digital print.

A printer profile is a bit of software, called an ICC file,  that describes  how a particular combination of printer, inkset, and printing paper reproduce colors at a specific printing  resolution. For example,  the ICC profile SP7898 PLPP260 PK 2880.icc describes how an Epson 7800 printer using the K3 inkset with Photo Black ink printing on Epson Premium Lustre 260 paper at a printing resolution of 2880 dpi reproduces color.

Profiles are useful because they let Adobe Photoshop  accurately  preview what your image will look like when it’s printed, and  to control your digital printer’s output so it matches that preview. (or, at least, as close as ink on paper can look to pixels on a monitor).

Once the appropriate profiles are installed, Photoshop  uses them in the View>Proof Setup command on the top menu to preview images,  and in the Print dialogue to control your printer. Voila, an accurate print.

Or maybe not.

Along with ICC profiles, colorspace helps to determine what colors your camera records, that Photoshop displays and  your print or digital file reproduce. A device colorspace defines the range of colors, or gamut, that a device, such as a camera or printer, can reproduce. An editing colorspace is device-independent, but determines the color range you can work in with, for, example, Adobe Photoshop software.

The main colorspaces photographers work in are Adobe RGB (1998), the traditional editing space for, naturally, Adobe Photoshop;  sRGB,  which is primarily used for  images posted on the web; and, more recently ProPhoto.

sRGB  has a smaller gamut than Adobe 1998, which has a smaller gamut than ProPhoto. Why is this important?  Because to know how the beautiful colors in your digital image will look in a print, your devices need to be using the same colorspace, your monitor needs to be calibrated accurately to the same colorspace, and your editing software needs to display the same color space.

See what I meant by insanity?  BTW, for you people working with Adobe Lightroom, it uses the ProPhoto color space.

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Fun with Photoshop Actions

August 27, 2009

JP_090517_20313 copyJP_090517_20313-Edit_flat copy

I now use Adobe Lightroom for about 90% of my work, but I still use Adobe Photoshop for pictures that require layers,  compositing, and creative tools that Lightroom doesn’t have,  such as Actions.

Actions are awesome. An action is a programmed series of operations in Photoshop that is set in motion with a single mouse click, and can be designed to do just about anything, from simple to extremely complex. They’re one-step solutions that can really add to productivity and creativity.

Photoshop comes with a few actions, and you can write your own, although the process is not very intuitive. There are gobs of free actions on-line for a huge range of tasks, and I regularly surf for them,  looking for new ones to add something special to my pictures or automate  really boring and repetitive tasks, such as resizing pictures and saving them as jpgs.

One of my favorite actions converts an image into a high-contrast black and white duotone.  I often combine this action with layer masking and painting to create duotones that also have areas of color.  Above  is a before and after example of this technique.

To add an action to Photoshop, click on the menu box in the upper right corner of the Actions Palette, and select “Load Options”. Then, navigate to the folder on your computer where you have saved the action and select it.

actions paletteactions menu

To apply an action to an image, first open the image in Photoshop and click on the button for the action in the Actions Palette. In the picture on the left,  above, each of the horizontal bars with text is an action “button”.

Below are some of my favorite Actions websites;   Google “Photoshop Actions” to find many, many more.

Have fun!

Action Central

Deviant Art

Smashing Magazine

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Red Room picks Diane Chamberlain video as Best Video of the week.

May 22, 2009

Great news!  The writers’, site Redroom,  www.redroom.com picked one of the video programs I produced for noted author Diane Chamberlain  as its Best Video of the week! Cool!  This is one of six videos I’ve produced this year for Diane, starting with a Video Book Trailer for her latest book,  “Secrets She Left Behind.” You can watch the trailer, above,  find these videos at Diane’s web site,  and see clips from other videos I have produced at my web site. Just click “Video.”