DSLR video making guide

DSLR Quick Focusing Tips

2011-12-24T13:07:00.000-08:00

When I was a kid, our family only had one camera. It was a 35mm point-and-shoot with autofocus. Today we have all sorts of cameras, from mobile phones to camcorders to DSLRs to point and shoots... the list goes on! But there's one thing all these devices have in common: Focus.

Focusing is adjusting the lens of your camera until you can see your subject in maximum detail. Professionals like to use the term "tack sharp" to describe when the subject of an image is in perfect focus. An unintentionally out-of-focus shot can be distracting to the viewer, and can remove your audience from your video or film. However, intentionally leaving areas out-of-focus can also be used as a storytelling device, bringing the audience's attention to something specific, or obscuring the villain standing behind your main character.

When focusing, the lens element inside your camera moves closer or further from the image sensor depending on which direction you rotate the focus ring. Once the light is properly converging on the image sensor, you will have a focused image.

Shifting focus from a nearby object to a faraway object within the same shot is called "racking focus" and is commonly used to bring the audience's attention from one subject to another. Professionals and amateurs alike do this by using something called a follow focus, and you can build one yourself to make racking focus much easier! Here's a quick example of how racking the focus can add a little bit of drama and tell a story, all within one shot:

Most cameras today have autofocus built in, and you might be wondering why we don't just leave it on all the time. Autofocus can be pretty good at guessing what subject you want in focus, but it may not always get it right. Lots of movement within the frame or moving the camera itself can cause a distracting "pulsing" effect as the autofocus decides what subject should be in focus.

Manual focus is the setting we need to assure all our shots are tack sharp on the subjects we want. Check out the following video showing you how to manually focus on a couple of common camera types:

Here's the breakdown of how you can manually focus on different camera types:

DSLR: Find the MF(manual focus) switch on the lens or front of your camera body, and use the focus or zoom assist button to get the image sharp by turning the focus ring.

Camcorder: Set your focus to "M" near the camera lens, and use the focus assist to establish focus. Some cameras don't have focus assist, so check your user manual first.

Point & Shoot: While not exactly manual focus, you can lock your autofocus before taking your shot by pressing the shutter button halfway down, and then pressing the shutter all the way down to start recording.

Touchscreen Smartphone: Tap the screen where you want to focus (depending on your phone, this may adjust the exposure too!)

One rule of thumb to focus on a video camera is to establish your shot, zoom into your subject as much as possible, focus on your subject, and zoom back out and reestablish your shot. Your subject will remain in focus as long as it's stationary. You can try this technique with DSLR cameras, however the zoom on some lenses can throw off your focus. Most video-capable DSLRs have a "focus assist" button that will digitally zoom on a subject to help establish focus. Explore your user manual or post in our friendly Cameras and Editing Forum if you have trouble focusing with your camera.

Adding Depth to Your Shots

2011-12-09T01:15:00.000-08:00

When most people think about adding depth to videos, they immediately think about DSLR cameras, and for good reason: One of the most appealing aspects of shooting video on a DSLR is the shallow depth of field you can achieve.

With DSLRs, interchangeable lenses that stop down to wide apertures allow you to get those super-cinematic shots, capture bokeh, rack focus, and separate your subject from the background, drawing your audience's eye to the details you choose. Adjusting aperture to obtain shallow depth of field is a great trick, but let's not get stuck in thinking that it's the only way to add depth to your shots.

This great tutorial from Realm Pictures explores six ways to create depth in your videos, most of which don’t call for a DSLR:

1. Depth of field

The wider your aperture (meaning the smaller the number), the shallower your depth of field. As you can see in the tutorial, when shooting at f/22, both Eve and the background are in focus. However, opening up the aperture to f/1.4 creates shallower depth of field, where Eve is in focus while the background is not.

Remember that when you change your aperture, you need to compensate to maintain your exposure. When shooting on a DSLR, you usually want your shutter speed to remain at 1/50th or 1/60th of a second (depending on your frame rate), so you'll want to compensate for a shift in aperture by changing your ISO.

If you're shooting outdoors on a sunny day and your ISO is set as low as possible but you still can't open the aperture wide enough to get the shallow depth of field you want, try using a neutral density filter to decrease the amount of light hitting the sensor. This fun video by stillmotion offers further explanation.

2. Backlighting

Sometimes adding depth is as simple as adding backlighting. As seen in the tutorial, when the sun is behind Eve, a natural line of light around her head and shoulders separates her from the background. The same principle pertains to a three-point lighting system. When using artificial lights indoors, backlighting helps the eye distinguish the subject from the background, thereby adding depth.

3. Foreground elements

Adding an element to the foreground is another simple way to add depth. Placing something closer to the camera gives context to the shot and helps better define the placement of your subject.

4. Perspective

Changing up your shot composition and getting creative with angles also can add depth. The shot with Eve in front of the shed is composed on one visual plane. However, by moving the camera to the side and shooting at Eve down the line of the shed, the vanishing horizontal lines of the structure create depth and draw the focus towards her.

5. Parallax

Parallax is not the name of a more relaxed parallel universe — it’s a property of visual perception whereby an object looks different when viewed from varying angles. In the tutorial, this effect is achieved by moving the camera along a glide track so that the foreground elements move faster than the ones in the background. This contrast accentuates the difference between the two planes and you guessed it adds depth.

6. Smoke and Haze

Bet you weren't expecting this one! In the tutorial, the air behind Dave is filled with smoke. Since there is less smoke between the camera and Dave than there is between Dave and the wall, Dave really pops out from the background.

OWLE Bubo for iphone 4s

2011-12-05T11:15:00.000-08:00

The OWLE Bubo is the simplest and most versatile way to take and share video and images.

SELECT YOUR DEVICE TYPE

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OWLE Bubo for iPhone 4, 4S and iPod Touch
4G
$169.95
OWLE Bubo for iPhone 3G/3GS
$159.95
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$37.50 International Shipping & Handling.
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IF YOU WANT TO PURCHASE THE OWLE & ENCINEMA ADAPTER COMBO KIT AT A DISCOUNTED
RATE, PLEASE CLICK HERE
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WHAT IS THE OWLE BUBO???
The Bubo takes the device you already have with you and transforms it into a fully functional imaging device.
Once equipped with a Bubo, the quality of your images matches the ease of sharing them.

Included Items:

- iPhone or iPod Touch 4G Specific Billet Aluminum Bubo

- Wide Angle/Macro Combo Lens (37mm Back End diameter, 49mm Front End Diameter)

- External Microphone

- Silicone Case to be used with iPhone or iPod Touch 4G
_____________________________________________________________________

What does it do that my iPhone doesn't?

Put simply, everything that a camera does that an iPhone can't.

- The Bubo comes standard with a full size lens that provides crisp image quality
- Also included is an external microphone that captures audio you can share
- It has four tri pod mounting points allowing you to perfect your image capturing
- The Bubo can stand on its own allowing for hands free photography
- An integrated cold shoe mounting point makes using lights or microphones simple
- The Bubo's ergonomic design promotes ease of hand held shooting
- Its tailored weight allows for greater control and no more shakey "cell phone video" affects
- The Bubo even protects your phone from damage during use as a camera

Once you have a Bubo, the days of "sorry for the cell phone pic" become a thing of the past.

DSLR Battery Basics

2011-08-19T12:23:00.000-07:00

Batteries power almost all our gadgets nowadays, and cameras are no exception. When it comes to production, it can be difficult keeping track of all the different battery options, but with a little research, you can find the best solution for your equipment.

In preparation for this lesson, we made this video. Unfortunately we had some technical difficulties-

No big deal though! It's a fairly straightforward topic so let's dig in!

Certain cameras still use non-rechargeable alkaline based batteries. While these batteries are generally cheaper, they don't last nearly as long and are only good for one time use. Fortunately, most modern cameras use rechargeable batteries.

Let's look at the two most common types of rechargeable batteries used in cameras. There's nickel metal hydride (NiMH), and lithium ion. Lithium ion is the preferred type for use in high end equipment as NiMH batteries tend to discharge when not in use and do not provide as much power overall. Because of this, most cameras are designed to use lithium ion batteries which are proprietary (meaning they are made for use in those specific cameras). Some lower end cameras use AA or AAA (NiMH) batteries since they're cheaper.

Despite the advantages of lithium ion batteries, there are drawbacks. For one, they don't live forever. After about 500 cycles (draining followed by recharging) their performance degrades quite a bit and they require replacement. NiMH batteries can be even worse, needing replacement after even fewer charge cycles.
Pro tip... Recharging a partially drained NiMH battery can greatly reduce the life of your battery. Unlike NiMH batteries, lithium ion batteries don't need to be fully drained before recharging them!
Most of the time, when buying a battery, you have a choice of buying an expensive name brand or a cheaper 3rd party brand. Both batteries will generally provide equal performance, but be warned that some 3rd party batteries may have not be able to communicate with your camera, so your camera may not display information on how much power is left. Depending on your camera model, you may able to purchase an extended charge version. These will typically be larger than your normal battery but they will of course provide extended battery life.

What if you're on a shoot and running low on power? Well, that's a situation no one wants to be in, so if you feel like you're cutting it close, it's best to have a second battery fully charged and ready to go just in case your first battery dies. Optionally, if you're near a wall outlet, many cameras can be powered via an AC power adapter, so there's no need for a battery at all!
Pro tip... If you have two batteries, bring your charger with you on your shoot so if one drains, you can use your second battery and simultaneously charge the one that has been drained!
It's always a good idea to familiarize yourself with how long your battery lasts in your camera with a full charge under normal use. However, just like people, batteries work best at room temperature. Using your batteries in extreme temperatures can have a negative impact on your battery's life. That being said, the optimal operating temperature for Lithium ion batteries is 68°F, and you're good to go within a 20°F range of that. Anything higher or lower and you could experience drastically reduced battery life, so if you're planning on shooting in extreme temperatures, come prepared with more batteries, or have a way to keep your camera and other equipment in a relatively stable temperature area.

Keep in mind that there are lots of things your camera does that makes your battery drain faster. Using the LCD screen on your camera is a big one. Try looking into your camera settings and dimming your screen brightness, a lot of times it's set super bright by default. If you're looking to be more conservative, cut down on the use of external devices that use your cameras' battery (also known as phantom power, scary stuff). Things like camera lights, external LCD screens and microphones, can all drain your camera battery pretty quick. If you have the option, try buying an external device that has it's own power supply. Obviously, you can prolong your battery life by turning these things off (or even the camera itself) when not in use.

Once your battery has drained to the point where you're unable to use it, the proper way to dispose of it is to recycle! Check with your local, state, or federal environmental agency to find out the best way to do so.

Following these basic tips and general common sense should keep you and your batteries happy as can be, and help your shooting go smoothly. Now go out there and conserve some energy!

Shot Composition Varying

2011-07-09T08:24:00.000-07:00

A fundamental part of visual storytelling is variety. If your entire video consists of one single shot, it's going to be hard to keep the audience engaged for the duration of the story. That's why in most videos and movies there are a variety of shots or compositions that are used to enhance the storytelling. Keeping in mind the tips from our lesson Framing and Composition, check out the most common types of these shots below.

To help illustrate these various shots, we have taken still images from two recent Vimeo HQ videos, Vimeo Man and Texas Intern. Let's dive into these examples!

EWS - Extremely Wide Shot (or Establishing)
Establishing shots are shown towards the beginning or end of a scene, to set the stage and show the full environment. Here we show the exterior of Vimeo HQ, so the audience knows where the story is about to take place.

WS - Wide Shot
Wide shots show the whole subject and their surrounding environment. In this shot, we show Matt at his desk, but also leave it enough room in the shot so that we can see that others are present.

MS - Mid Shot
The Mid Shot gets closer to the main subject, showing more detailed gestures and body language. Here is Matt coming upon Vimeo Man in disbelief.

MCU - Medium Close Up
Medium Close Ups are just a touch closer than Mid Shots, but give greater detail, in this case it's emphasizing Matt and his obsession with all things dslrtool.com.

CU - Close Up
Close Ups fill the frame almost entirely with the subjects face. This emphasizes a character's facial expressions and helps the audience understand their reactions. Here is a close up shot of the Texan, blowing smoke from his pistol while squinting his eyes.

ECU - Extreme Close Up
Extreme Close Ups are super close to the subject, usually detailing just one part of their face, like the eyes or mouth. In this case, it's Vimeo Man's flashy glasses.

Cut-In
Cut-Ins, also known as insert shots, typically show objects or props that a character is manipulating. For example in the shot above we see the Texan's pistol as he is firing it.

Two-Shot
Two-Shots show two subjects in the frame and their spatial relation to one another. Usually both are positioned to fill up roughly the same amount of space within the frame. Two shots are often used during dialogue scenes like in the shot above where Andrea is explaining dslrtool.com to Matt.

OTS - Over The Shoulder Shot
Over The Shoulder shots are also used in dialogue scenes to show conversations between two people but with an emphasis on a particular character's perspective. Here we see Dan and the Texan discussing modes of transportation.

All of these common shot types emphasize different elements of your video. Whether it's the setting, a facial expression, or an object in an insert shot, they all help to tell the story by focusing the viewers attention. It's up to you as a video maker to tell your story in a series of shots, so think of what you want to convey and emphasize that with your shot selection. You'll find that a good dose of shot variety helps keep your audience engaged and watching, and that's a good thing!

Thank you to VIMEO.COM

DSLR Video Importing & Conversion

2011-07-01T09:03:00.000-07:00

For all those DSLR users out there, importing videos is pretty easy these days. We simply stick a Flash card full of our buttery DSLR footage into a computer, drag the files to a folder and presto-changeo! Everything is organized! But if you think you can just drop these files into your editing suite and start editing, you may have another thing coming. The reason being is that when videos come off your camera they are in a H.264 format, which is a finishing format. H.264 is a great format for say, uploading to Vimeo, but editing software such as Final Cut Pro does not support it (albeit, we are seeing a change to this). Consequently, editing with H.264 in Final Cut Pro means choppy playback and frequent crashes. To avoid this, you will need to convert your video files to a format that is better suited for editing.

In the tutorial video below, DSLR video expert Philip Bloom demonstrates a simple way to get your DSLR videos files converted and ready for editing!

First, He instructs you to import your video files:

Plug your camera's compact Flash card into your computer using a card reader (don't use iPhoto etc.)
Drag the entire contents of the DCIM folder from your compact Flash card onto your external hard drive.
Discard the thumbnail files (.THM Files).

Then, once your video files are on the computer, they are ready for conversion:

Download the free software, MPEG streamclip and open it.
To convert all of your video files at once, go to "List" select "Batch List" and then select "Add Files". Next, select all of the files you wish to convert.
Click "To Batch" select "Export to QuickTime" and hit "OK".
You do not want to "join all the files" as it is easier to organize them separately, nor do you want to"Fix time code breaks".
Create a new folder and click "Select".

Now, you are ready to choose the settings that will convert your video files into a better format to edit with:

Philip Bloom recommends you use Apple XDCAM EX 1080p30 (35 Mb/s VBR) if you don't plan on editing the file later with software such as Cinema Tools.
Turn Quality to 100%.
Make sure it is Unscaled and deselect "Interlaced Scaling" and click on "To Batch".
Click "Go".

Pro tip...

Use ProRes 422 as a substitute to Apple XDCAM EX 1080p30 for a higher quality yet less compressed (larger file) format!

And there you are! After clicking "Go" you can cruise around Vimeo for some editing inspiration while MPEG Streamclip coverts your video files to an editing friendly format.

I.S.O Mastering DSLR

2011-06-22T11:23:00.000-07:00

Back in the days of yore when everything was black and white, cameras used film. I.S.O. was a measure of the film's speed. The lower the I.S.O. the less sensitive the film was to light and vice versa. Now that we're living in the future, most folks use digital cameras rather than film. Digital cameras still have I.S.O. but now it measures the light sensitivity of a sensor instead of film.
Here's a quick video that explains it even more

So, now that we're clear on what I.S.O. is, let's see what the different I.S.O. settings look like! Leave it to the Vimeo community to upload tons of I.S.O. tests. Here's an especially good one by Amila C. Kumarasinghe. He uses a very low-light setting to take us from I.S.O. 100 to 6400 on her Canon 60D.

If you paid close attention, you'll see that the higher the I.S.O. the more light the camera picked up, but the image started getting noisy. Digital noise makes the color black look grainy and fuzzy (noisy!). Here's another test video from Andrew Schär that shows the noise in each of the different I.S.O. settings on a Canon 60D.

So what's the best way to use I.S.O.? Well, you'll typically want to choose the lowest I.S.O. that still gives you a good image. In low light situations, you'll have to bump it up but try to stay below 3200 if you can!

If you have a camera that allows you to change your I.S.O. you'll usually be able to access it through the menu and it will probably look something like this:

Pro tip... As you're choosing your I.S.O. there are a few settings, even low ones, that cause more noise and you'll want to avoid.

Good ISOs: 160, 320, 640, 1250, and 2500
Avoid using: 125, 250, 500, and 1000. These ISO settings create noise and make your footage look grainy.

Less Budget photography lenses for DSLR cameras

2011-06-08T01:27:00.000-07:00

As much as we might hate to admit it, price is one of the most prominent factors when selecting photography equipment. Even to professionals, cost matters, because higher equipment costs mean less cash in pocket at the end of the day. Profit margins may not be an issue for amateurs, but instead it may be a function of what one can afford. We’d all like to have the best of everything, but in reality we have to pick and choose. In this article, we’ll look at some of the strategies to stretch your dollar and get the best gear for your needs.

Specialize

If most your photography is sports related, there isn’t a lot of sense in spending much money on wide-angle lenses. Instead the large majority of your lens budget should go towards telephoto lenses. Landscape photographers should probably invest mostly in wide-angles, but somebody such as a wedding photographer might have a need for a wide variety of lenses. Even then, it would still be a good idea to invest in a couple really good lenses, and work with those, instead of having five mediocre lenses. It is okay to have different types of lenses, providing you actually use them. Though if the lens would be used for less than 10 to 20 out of 100 shots, it isn’t worth spending the money on. Spend the money on lenses that will be used for 20, 30, or 40 shots out of 100. Your photographic opportunities may be slightly more limited, but the pictures you do take will be of unequaled quality.

New vs. Used

It’s always nice to break the seal on a box containing a brand new Canon L series lens, but is it really worth the cost? As photography has become more popular, especially at the amateur level, there is more movement of used equipment throughout the market. Not only does this mean there is more of it, but also that it’s less expensive. Simple supply/demand economics tell us that the more of something there is, the less it will cost. Lenses such as the Canon 70-200’s are extremely popular, to the point where there are hundreds on sites such as eBay at any given time, new and used. Canon lists the MSRP for the 70-200 f/4L USM at just over $800. However, on eBay, just by quickly scanning through completed auctions, the same lens – lightly used but in great condition – can be found for around $550. Obviously nothing compares to a brand new lens, but if you’re willing to settle for one gently used, but still void of any scratches on the body or glass, you can often save anywhere from 20-40% the cost of a new lens. eBay is not the only place to find used equipment; Craigslist is another valuable resource for finding great deals on used equipment. A notable benefit of Craigslist is that the transactions are more interactive and personal, and you are almost guaranteed to be able to see and try the lens before actually purchasing it, a feature not provided by eBay. NOTE: I have had many successful transactions using both of these sites, but always use caution when buying lenses from any online retailer or website. Ensure the quality of the lens is as described, and never purchase a lens with any notable defects. Don’t sacrifice quality just to save $50. In the end that extra $50 will probably mean a nice, clean, like-new lens.

Primes

Primes are fixed focal length lenses, which often feature a high maximum aperture. Zoom lenses other than those typically selling for over $1000 are hard to find much faster than f/4. There are few under $1000, but the current models as fast as f/2.8 are in the $1500 range. Primes, however, are usually extremely fast and don’t demand the price tag of the upper-level lenses. The MSRP for Canon’s 50mm f/1.8 is only $130. Almost the entire lens, including the mount, is plastic, but that little money for that fast of lens is hard to beat. Canon offers other faster and better built versions of the 50mm, but the price tag reflects this. Having a couple prime lenses in the bag is never a bad idea. They are great for those low light situations when even an f/2.8 isn’t fast enough, or when a short depth-of-field is crucial.

The Other Guys

Commonly referred to as off-brands, Sigma and Tamron have recently made a resurgence into the digital photography world. Taking advantage of the fact that Canon continues to raise prices, these two companies offer lenses that often rival the quality of the Canon lenses, and are almost always less expensive by a decent margin. Until recently, my city’s local camera store only carried Canon and Nikon equipment, but recently they have started carrying both Sigma and Tamron. Every time I ask the associate about a certain type of lens, they not only suggest the typical Canon model, but also always point out the Sigma or Tamron counterpart. The store maintains a very high level of quality for the equipment they carry (even the point and shoots begin around $200), so this is even more proof that these two brands offer a high quality alternative to the expensive Canon and Nikon lenses. The off-brand lenses are made in the various mounts for the respective brands, and work just like any brand-name lens. It’s almost hard to call Sigma and Tamron off-brands anymore because of how prominent they have become in the digital industry.

Conclusion

You may be in a position where money isn’t a factor when considering lenses, but I believe I can speak for most of us when I say it is. The decision between better price and quality is often a tough one, but the best thing to do is research all the available options, and make a decision based on what is best for you. Any of these strategies can be used individually or in conjunction to get the best value for your money.

Thank you to Cameron Shulak

Turn Off Lens Image Stabilization / Vibration Reduction for Tripod Mounted DSLR Cameras

2011-06-06T09:55:00.000-07:00

Turn Off Lens Image Stabilization / Vibration Reduction for Tripod Mounted DSLR Cameras
When you have Image Stabilization or Vibration Reduction active on your lens the internal mechanics detects movement and counter acts it producing a sharp image. When your camera and lens are mounted on a tripod movement is removed, but your lens can errantly activating its IS/VR mechanism creating an image that is less than sharp. For this reason its a best practice to turn off your lenses IS or VR functionality when it is mounted to a tripod.

3 Stupidly Simple Reasons Why Most People’s DSLR Photography Does Not Improve

2011-06-06T09:49:00.000-07:00

I am presuming that this article will not apply to most of us… but after 3 conversations in the last week which revealed the same photography problems in 3 different people I thought I’d better jot them down.
Warning: none of this is rocket science sometimes the basics need to be said

1. You don’t Take Your Camera With You

If you don’t practice using your camera you’re unlikely to ever grow in your understanding of and skill in photography and if you rarely have it with you – you’ll not get that practice.
Does that mean you need to lug your DSLR and all your cumbersome gear around with you all the time?
Maybe – I have friends who are never without their main camera – but if that’s just not practical, at least make sure you have a smaller point and shoot or even a decent camera phone with you at all times. While the quality of the images you take might not be as great with these cameras – at least you’ll be practicing your composition, thinking about light, color and other aspects of photography.

2. You’re Going too Fast

Many of us lead life at such a fast pace that we rarely stop to see the opportunities right before us to take wonderful images.
You can carry your camera around with you 24/7 for the rest of your life but unless you learn to slow down and to look at the world a little differently you may never actually use it.
As a result I guess one of the tips I find myself giving to some that I talk to is to find ways to slow down or at least slow down temporarily to set aside time to be a bit more intentional about photography. It might start by taking a walk with the main objective of doing some photography but could also be something bigger like a weekend away with your camera or even taking a photography class or tour.
For me its about building photography into your daily rhythm and in time it starts to become a more natural thing as you get in the habit of seeing life a little differently.

3. You are Worried what Others Will Think

I’ve come across quite a few people lately who suffer from ‘framing paralysis’.
They take their camera with them and they even slow down enough to see the photographic opportunities around the – but there’s just something that stops them lifting their camera up to frame the shot.
When I dig a little I’ve found in most of these instances the person is simply worried about what others around the will think if they use their camera. Will they look stupid? Will people think that they’re photographing them?

Its a feeling I’ll admit to having myself in the past and when I asked about it on our Facebook page the other day it seems that it’s quite common.

I guess the key to moving through framing paralysis is to grow your confidence as a photographer. For me the more photos I took and the more I began to exercise the discipline of taking images the easier it got. Another friend of mine got over his paralysis by finding a photography buddy to go out with – two of the taking shots somehow seemed less confronting than him doing it alone.

What do You Think?

Of course the above are very simple things that hold many people back and there are bound to be others that readers here at dPS might have experienced. I’d love to hear from you on two fronts:
what other simple things hold you (or other photographers) back from improving?
what tips and solutions would you give others facing these problems?

Macro Ring LED Light for DSLR cameras

2011-06-04T09:31:00.000-07:00

A macro ring LED light that works on any lens, even some Point and Shoot cameras. These LED Macro ring lights come with a variety of adapter sizes that will attach using the Filter thread of your lens. LED macro ring lights are specifically designed to evenly light very close shots. How well does this particular ring light work? Overall most customers were very pleased with the light for the money spent on about 4 out of 5 stars on average. You can see some fine examples of these lights in use over at Flickr.

This is not flash. The battery operated LED ring light constantly emits light and provides permanent lighting for subjects. With the LED lamp mode controller, you can adjust the three modes: all light, half left light, and half right light. With the power mode controller, you can choose two different power input modes to offers you continuous light.

Definitely very effective on small close objects, but might be a real stretch if used for close-ups of people. It could be used as a clean ring of light in the eye like these Mesmerizing Macro Photos of the Human Eye.

Quick Specs:
6 x Adapter Rings Included! (49mm/52mm/55mm/58mm/62mm/67mm)
Specially designed ring shape is perfect for MACRO photography (close-up).
This light has a double-duty power supply design which allows you to use 2 x AA batteries or DC power
This lighting unit provide a continuous lighting (not flashing), the continuous lighting allows you handle exposure easily.

BUY HERE

Different error codes in canon eos DSLR cameras

2011-06-04T04:37:00.000-07:00

Err 50

"Err 50 Shooting is not possible. Turn the power switch to and again or re-install the battery"

It suddenly happened. At that time I'm using the ONE SHOT focus mode, Manual, F5.6, ISO100, RAW+L jpg, I'd take one picture and then see the message. I'm Using Canon 50D with grip, Canon 10-22mm lens, 4gb 133x CF card. Very frustrating. Also, the shutter seems to move really slow, regardless of my settings. Prior to that "Err 50", last week I also experience "err99" also taking landscape photos outside, also near a harbour. When I got home that day, I search here at DPP thread about "err 99" and find out some hints, they say its maybe the Lens, CF Card, Battery and the worst the Camera itself. I also find out its maybe the firmware, so I updated my firmware from my original firmware v1.03 to the new v1.07 successfully, from that firmware update I didn't experience the "err 99" yet, but here comes "err 50", I just wondering if that "err 50" and "err 99" is connected in any other way. Anyway, did any of you experience this "err 50"? I can't find any post here at DPP regarding this error. Is it on Canon cameras only? If this thing really persist on happening everytime I'm taking photos outside, I have to bring my camera to the shop where I bought my 50d.

Err Code in Canon EOS DSLR cameras

10 Malfunctions related to files have been detected.
20 Malfunctions related to the mechanical have been detected.
30 Malfunctions related to the shutter have been detected.
40 Malfunctions related to the power source have been detected.
50 Malfunctions related to the electric control have been detected.
70 Malfunctions related to images have been detected.
80 Malfunctions related to the electric control or images have been detected.

NA-550D DSLR housing under water rig

2011-06-04T00:43:00.000-07:00

The NA-550D housing is the latest member of the Nauticam family designed to accommodate the hugely popular Canon 550D, Canon’s latest upper entry level DSLR with 1080p HD video function.

The NA-550D housing inherits the renowned piano keys from NA-7D housing and the signature port locking system. The top piano key/rocker key controls AE lock, the middle for AF point selection, and the bottom provides access to the quick control button. One particularly innovative feature of the housing is the play back button, located below the camera's cross keys, and now accessible at the left top side of the housing. This means you can easily play back images underwater with your left thumb while keeping both hands on grips. The housing also features a new fingertip ISO paddle, for changing ISO speed located on the top of the housing. We have also worked on the sensitivity of the shutter release lever which incorporates an enhanced mechanism, allowing a very responsive half-press auto focus.

KEY FEATURES
- NA-550D incorporates two plastic locks to secure housing instead of using stainless steel latches

- Super-sensitive shutter release mechanism

- Aperture exposure compensation swith/lever, no need to be held down while turning the command wheel

- Lens release button is available with the NA-550D housing

- Two optical bulkheads and one electrical input for different lighting choices

- Standard optical pick up viewfinder come along with the housing

Technical Data

Construction:

Housing body: Hard anodized aluminum alloy
Display window: Abrasion resistant polycarbonate
Grip handles: Polycarbonate and rubber

Dimensions:

Width: 180mm (without handles)
Height: 158mm
Thickness: 120mm

Depth rating: 100 meters

How to Repair the Write Protect on an SD card for DSLR cameras

2011-06-03T09:18:00.000-07:00

Are you facing this problem often, that your SD card for DSLR cameras shows " This card is write protected" and you are not able to do anything with that card. Don't worry here is the simple solution for that. The the reason for this post is because this morning I have faced the same problem with my 8GB San Disk got write protected and i was not able to shoot.

Most of the time it happens because the knob in the SD card got broken and you are not able to lock or unlock the SD card.

Please watch this video tutorial carefully and you would be happy to see how easy it is.

Use of DOF (depth of field) button in your DSLR camera

2011-06-02T00:48:00.000-07:00

The DOF preview button in your DSLR camera helps you to check the DOF that will be in the final shot. The lens aperture closes to the predefined value (lets say to f8 for example). The viewfinder gets darker, as less light transfers through the lens. But that is not everything. The DOF you see in the viewfinder is the same as will be in the final photograph. The DOF preview is useful when composing. However, if you have a f2.8 lens and the camera set to shoot at f2.8, pressing the DOF preview button does nothing. As expected, becouse the lens is wide and will be used wide open.

HDSLR Switronix Remote Start/Stop

2011-05-31T12:38:00.000-07:00

With the growing popularity of HDSLRs, weve gotten a lot of questions about doing remote start/stop with these cameras. Today Switronix announced their new Flex DSLR remote, which allows for easy, one-button start/stop with cameras such as the Canon 5D and 7D. Thanks to Ross at Switronix I got to play with it last week; watch my video above to learn more about this new piece of gear.

Setup your DSLR Canon EOS 7D

2011-05-30T11:32:00.000-07:00

When I first got my hands on a Canon 7D I was like, "What is this hunk of junk? How do I make magic with this machine? Where is the go button?" But seconds after I threw this seemingly useless piece of technology into the garbage, I found Tyler Ginter 's video, "How to Setup Your 7D." I quickly cleared the banana peels from the camera and got to work setting it up.

The first thing I did was set my photo mode to shoot in RAW format. Shooting in RAW gives you more control over your image in post-processing. Then I adjusted the "beep" setting. I choose to keep it off so I can be as stealth as possible when capturing people sleeping on public transit. Next I adjusted the white balance. Tyler suggests to keep your white balance set to auto while shooting in RAW, however I personally believe that manually setting your white balance against Jon Bon Jovi's smile is the only way to achieve the purest color. Once I had dialed in all of my settings, I saved them into a custom photo preset.

While shooting photos is cool, shooting videos is cooler. Tyler goes on to explain how to set up custom video presets. He demonstrates how to set your picture style to produce a quality filmic look, and how to shoot in 60 frames per second. I loved setting my 7D to shoot in 60fps, it allowed me to capture every motion in EXTREME detail. After finishing Tyler's tutorial I was ready to take this now worthwhile piece of technology and make some magic with it.

Keeping custom presets is very useful when you shoot in a variety of conditions. Instead of arriving at your shoot location and adjusting all of your settings manually, you'll have some general presets that you can quickly default to in any condition. This way you'll spend less time fiddling with your camera, and more time shooting!

A few points to remember about setting up your 7D:

Make sure you are in manual mode when customizing presets
Shooting in RAW allows you to tweak things like white balance later in Lightroom
Set your video picture style in-camera so you don't get really black blacks
Assigning presets is really handy

What is a neutral density filter?

2011-05-28T04:17:00.000-07:00

A neutral density (ND) filter is a piece of glass that fits over the front end of a lens to reduce the amount of light entering the camera. Now, you might be asking yourself when and why would anyone would ever want to do this? These filters are commonly used when shooting time lapse videos in bright daylight conditions. If it's the middle of the day and you want to capture a nice shallow depth of field you'll need to have the aperture wide open. Also if you're looking to get some motion blur as your subjects move around the frame you'll need a lower shutterspeed. Both of those settings can be hard to properly adjust for in bright daylight conditions. That's where ND filters come into play. Let's check out the explanation below by Olivia Speranza to get a better handle on all this.

Sounds pretty simple right? You're just reducing the amount of light to get a shallower depth of field and/or to blur the motion you're capturing in bright lighting conditions. ND filters are typically sold in varying degrees of darkness from about 1 level of f-stop reduction to all the way up to 13 or darker. There are some special and more expensive kinds called variable ND filters which allow you to simply rotate the filter to adjust the amount of light filtering. Here's a picture of one to give you an idea.

When purchasing your filters make sure your lens has a thread on the end that can support the addition of a filter. If it doesn't, you can get a special ring adaptor to mount the filter.

How to Shooting ENG style with Dual System Audio on a Canon EOS 5D Mark II

2011-05-27T07:29:00.000-07:00

Daniel Plym, Director of Video Publishing at Buzzine.com, gave us a crash course on how he uses his 5D for red carpet shoots. He is a one man operation and breaks down how he combines the 5D with a Zoom audio recorder,Sennheiser Wireless microphone, Pluraleyes software and Final Cut to capture clean audio. This video was used in our webcast Life Without Timecode (Audio for HDSLR) bit.ly/du0XUu and will also be featured in our upcoming Canon EOS Moving Image Workshop bit.ly/bAKLg0

How To Directly Tether Your Camera To An iPad

2011-05-22T09:18:00.000-07:00

Lee Morris of rlmorris.com and fstoppers.com explains how to wirelessly send pictures from any camera to an iPad or iPhone using the Eye-Fi Pro X2 SD card, My Wi, and Shutter Snitch.

BUY here

Top 10 DSLR disadvantages and How to overcome that

2011-05-22T01:09:00.000-07:00

Is there no bad news at all when it comes to this way of video production? You betcha! However, there are also a growing number of ways to overcome them. Let’s review them:

1.Stability

First of all, a stills camera is built to maintain steady for about 1/60th of a second, not to record 24 frames or more per second (i.e. shooting movies). Enter Zacuto. This Chicago-based corporation, founded by people with a history in camera work, cranks out one after the other innovation that helps DSLR-shooters to stabilize their shots. Also: enter CineKinetic (or Visual Departures). Using the Mini- or BabySaddle (or the much cheaper SteadyBag) allows you to create stable shots even while in moving objects such as a car, train, tram, bike or air plane. For those who like to walk: enter Glidecam. And for those who are ready for more professional dolly shots: enter GlideTrack and WallyDolly. However, be careful with too fast movement as the CMOS sensor chips do provide some jello effects (see below).

2.Sound

Second, DSLR cameras suck at sound recording. The built-in mic is miserable and the camera does not feature a professional XLR input. Above and beyond they should fix the Automatic Gain Control (AGC) in the next firmware upgrade and allow at least for on screen manual control of dB levels. Also, there is no way to monitor the audio by headphones as the LCD is turned off when you attach your head-set to the AV Out on the Canon 5D (the 7D has a different plug). But, then again, sound recording was never a topic by design. Enter Zoom. The portable H4N recorder provides the DSLR-shooter a simple device that excels in sound recording, allowing for up to four independent channels at the same time (1x crossed stereo at the front and 2 XLR inputs for external mics). Synchronization is done in post with a reference signal, such as clap of hands or clapper board in front of the camera. It is therefore key to keep recording sound on the DSLR for reference audio purposes. And, if you are editing on Final Cut or Sony Vegas, enter PluralEyes (too bad I’m on Adobe Premiere Pro). If you do want to have manual control of audio on the camera itself then the Magic Lantern firmware hack may be an option.

3.Light

DSLR cameras do beat any video camera when it comes to low level light situations, fair and square. Nonetheless, and this applies to any type of camera, having enough and right amount of light is crucial to the end result. Various suppliers have entered this arena, offering useful equipment at interesting prices. Enter the Dedo Ledzilla and Litepanel Micro.

4.Filters

If you want to go for that shallow depth of field, you have to open up the iris on the camera. In a stills camera this may easily result in over exposure. Most photographers would be tempted to start changing the ISO setting or shutter speed. Shutter should be kept at twice the frame rate you are shooting (e.g. 30p –> shutter at 1/60th, 24/25p –> shutter at 1/50th as 1/48th is not supported) to adhere to the 180 degree shutter rule in cinema. A better way to reduce the incoming light: enter the Neutral Density filters from Singh-Ray (effectively two circular polarization filters combined into one). This gradually reduces incoming light from 2 to a full 8 stops.

5.Viewfinder

In order to be able to judge sharpness, you do need a proper viewfinder. Since the viewfinder on the DSLR is blocked when entering live mode (i.e. required when shooting video), you need to see detail without being distracted from incoming light falling on the LCD screen. Enter (again) Zacuto with the Z-Finder. Is looking through the lens not an option due to the position of the camera? There are alternatives like the 720p native resolution LCD-screen from SmallHD.

6.Rolling shutter or Jello effect

This is indeed a problem on most DSLRs. The effect occurs most when you quickly pan the camera or when fast moving objects enter the frame. Solution: don’t whip pan – record more slowly and speed up in post. If that is not an option (e.g. you have people or moving objects in frame), an After Effects/Nuke plugin called RollingShutter exists to fix it. Now it does feel great again to be on Adobe

7.Editing AVCHD

The DSLR cameras record in AVCHD format using the H.264 codec. Neoscene by Cineform creates an intermediate format using wavelets to decipher those much required intraframe images and alleviates your processor from having to calculate them.

8.Compression versus color

Although DSLR cameras are capable of registering HD video with a full frame (35mm) sensor, a lot of compression is used upon recording it to a compact flash card. This means that component video (4:2:2 or 4:4:4) is typically not available and that color grading is done on a composite signal. This makes heavy color grading, matte painting, chroma keying or rotoscoping in post more of a pain. However, for basic post-production color grading: enter RedGiantSoftware. Using Magic Bullet Looks allows for fast and efficient (or slow and extensively) grading those shots. Philip Bloom explains. If you still want more: Cineform will help you with the process by re-creating a 4:2:2 intermediary file format. Not ideal but workable.

9.30p versus 24/25p
In order to realize that cinema or film look, the video should be recorded the way film is traditionally made. Meaning 24p or 24 full frames per second. In planet NTSC the framerate is 29,97, while 25 in PAL markets. Initially, the stills guys thought they could change the world by going for 30p (dead-on, not drop-frame) as the new standard for video. Wrong idea. Since there are still way more televisions than cameras on the planet, this has turned out to be lost battle from the start. When conforming 30p to 24p you are actually shooting in slight slow motion, or you ask your computer to take out or combine frames. This gives a slightly noticeable visual effect and easily introduces audio sync problems as well. Canon has realized their mistake and is starting to correct it. The Canon 7D now supports various frame rates (24/25/50 in PAL and 24/30/60 in NTSC), while a much-anticipated firmware upgrade for the 5D mark II is (hopefully?) due for release in January 2010. Come on Canon, make us even more happy

1.Recording limit

he recording limit on most DSLRs is about twelve to fifteen minutes for a single take. For what it is worth, from what I heard this has something to do with import restrictions. If they go beyond, these products are no longer regarded as stills cameras and fall in a different tax category. Another story says that it has something to with the 4GB file size limit (support for 720p would partially solve that). Either way, is it a problem? In my opinion, no. Unless you are recording a live event, most shots are likely to be way shorter than that. Most important thing for continuity’s sake is to record the audio properly — you can fill in the blanks in post afterwards with extra material you shot before or after the event (or stills from slides if you’re recording a live presentation).

Shooting from the hip with Zacuto Kit and SmallHD screen
Okay. Enough about the pit-falls. Time to see some more examples of what you can do with these cameras. Here is a wedding recorded with a 7D, and do check out this short titled Perya as well. Also, see the amazing effect of using tilt-shift lenses in this short movie which was recorded in Switzerland, although it appears to be shot in a miniature toy park. To the right is a visual of Michael Robertson (aka Velodramatic, a photographer with 20 years of experience in cycling photography) who shot his first video production with a 5D-Mark II and borrowed Zacuto gear. Finally, here is my very own first video shot with the 5D. Topic is Christmas in London 2009, shot over a period of two days. I used the following gear:

•5D-Mark II
•Canon F1.2 50mm USM II
•Canon F2.8 24-70mm USM
•Zacuto Z-Finder
•Zacuto Tactical Shooter
•Rode Videomic
•Singh-Ray VariND 77mm
(not usable on 50mm lens – 72mm ring (!) – therefore some shots have blown out skies)
•6 Canon Batteries
•Graded with Magic Bullet Looks

Anamorphic adapter for DSLR videography

2011-05-10T07:39:00.000-07:00

Attaching this adapter to a DSLR is a relatively simple process, but I still am getting TONS of questions on how to do it. So hopefully this video will demystify things.

The only real spec. you need to keep in mind is the AG-7200 has rear filter threads of 72MM.

The rest is pretty much illustrated in the video. Also keep in mind this video doesn't really go into things like image quality or edge sharpness, and or how to maximize the quality out of the adapter.it's simply how you go about using/attaching it. The comparison at the end was just of fun little test really.

I might make a second video though that talks about anamorphic focus and depth of field with more side by side tests if people want to know more about that in the future.

(Lens used to film the tutorial was the 35mm Flektogon f2.4)

Now its time for you to shoot with the anamorphic adapter and be a movie maker with your dslr camera (canon eos 550D, canon eos 5d mark II, canon eos 60D)

DSLR Mechanics

2011-04-27T04:02:00.000-07:00

In Roald Dahl’s James and the Giant Peach, the young James is given a bag of crystals with the promise that “marvelous things will happen; things even you never dreamt of.” With this gift, a world of endless possibilities and wonder was soon unveiled to James— an experience analogous to the gift of the DSLR camera with video capabilities.

With these cameras, the cinematic world of depth of field was now at the fingertips of photographers and filmmakers alike, and at reasonably affordable prices. Additionally, the film look of aesthetic quality blur aka, bokeh, that consumer level filmmakers admired was now available for their creative vision. But what is the story behind these cameras? How do they work? Let's investigate!

DSLR is an acronym for digital single-lens reflex. What that means is actually pretty simple. With various pieces of glass, a mirror, and a prism, light is guided through the camera and then out the viewfinder for you to see. This is great for composing images since what you end up seeing in the viewfinder is not an approximation, it's the same light as what you'd capture when you press record.

Let's follow the sexy DSLR cross section diagram above for reference. Light enters through the lens, then bounces off a mirror to the pentaprism, which then reflects the light around until it's sent through the viewfinder and finally to you, the viewer

When you've decided that you're ready to record here's what happens, the mirror swings upwards and the shutter opens for a period of time (depending on the shutter speed) allowing the light to be projected upon the camera’s image sensor. While the mirror is flipped up, the image in the viewfinder is blocked resulting in a viewfinder blackout. Whilst using your camera for video, the mirror is perpetually in this upward position resulting in a constant viewfinder blackout, but don’t worry because you can still check your image with the LCD on the back

When the Nikon D90 and Canon 5D MarkII were released in 2008 as the first video capable DSLRs, filmmakers were gifted with the power to obtain incredible control over how they captured images, leading to a reawakening of aesthetic beauty in low budget films. Hopefully now that you understand the basic principles of how light is captured with these cameras you'll be inspired to try them out.

Best Memory cards for DSLR video shooting

2011-03-27T10:50:00.000-07:00

Memory cards are the first place your video or photos are saved to when you use your cameras. Take a quick look around your local electronics store and you'll find that memory cards come in many different shapes, sizes, and speeds, but all do the same thing - hold your awesome footage.

Different types of memory cards used for video:
SD (Secure Digital) - This is the most common form of memory card for standard cameras these days. It is considered the industry standard. It is widely used in point & shoot cameras, and is even making its way into Digital SLR cameras. It comes in a variety of physical sizes and storage sizes. MiniSDs and MicroSDs are smaller versions made for mobile phones. There are few different types concerning storage size. SDSC (SD Standard Capacity) is the normal size and can hold up to 2GB. SDHC (SD High Capacity) can hold between 4GB and 32GB. SDXC (SD Extreme Capacity) is the newest and largest size, holding between 32GB and 2TBs of data!
CF (Compact Flash) - On the more professional end, Compact Flash cards are used most often in Digital SLR cameras. They can potentially come in sizes over 2TB! These also come in four different speeds, the normal CF, CF High Speed, CF 3.0, and CF 4.0.
P2 - P2 doesn't quite fit in this list because they only work with high-end Panasonic cameras. While these are bigger and more expensive, they certainly are what you need if you have a professional Panasonic camera.

Things to know about memory cards:
Transfer your videos or photos. This can be done a few ways, all of them relatively simple. Most cameras will come with a USB cord that will connect your camera with your computer. If your memory card is in your camera and you connect the USB into your computer, a folder with all of the files on your memory card will open. You can also use a memory card reader (see photo below) that you would purchase separately, which has slots for different types of memory cards. Some computers and printers have built-in card readers, most typically for SD cards.
Formatting the card. This means to completely erase everything on the card. And I mean, everything. You can format the card with a computer program, but it is easier to do it right within the camera. Make sure you have all of those precious photos and videos saved before you format

Protect the data. On SD cards, there is an optional small tab that you can flip to protect all of the videos or photos that you just took. When this tab is flipped, you can only view the photos on the card, and not delete them, or take new photos. You can also copy the data to the computer.
Be prepared. When shooting video, always bring extra memory cards! Even if you have a really large card that will hold a lot of video, it's a good idea to have a backup card.

Ten Lighting Setups by John Note

2011-03-19T09:40:00.000-07:00

This was a project for John Note's lighting class. Each shot had specific details on which to follow, which are explained in the video. In more depth, here are the ten shot assignments.

1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background
with the foreground ﬁgure(s) completely dark. There should be enough distance between foreground
and background that the spill of one area does not interfere with the other.

2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed
foreground ﬁgures at 4:1 key/ﬁll (two stops) and completely dark or just barely visible details in the
background.

3. A waist-high person in soft (diffused) side light, no ﬁll light, and a specular edge light from the
opposite side with the background as dark and unlit as possible. An incident reading of the edge light

should be about the same f/stop as the key light if the subject has light features, or one stop brighter
if the subject has dark features. Expose for the diffused key light.

4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other
shadowing material) shaping and highlighting the background (think of it as painting the background
with light and shadow).

5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly
lighting the person but actually enhanced with additional light, and a circular glow simulating the
effect of the candlelight on the background.

6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio,
composition, and a “practical”).

7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen
foliage or blinds onto part of the scene. You may want to gel the moonlight source or the ﬁll light
with a blue or other color gel.

8. A person in bed at sunrise (implied by light, shadow, color, and composition).

9. Simulate the pose, surface tones, and light of a speciﬁc frame from a ﬁlm of your choosing. If
possible, also turn in a still image of that frame.

10.
Shoot an interior still with at least one person in it using whatever light sources already exist in
the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the
frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only
artiﬁcial lighting. Also shoot wide shots of both the “natural” lighting sources and the artiﬁcial
sources.

Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...

John also lowered the blacks and raised the mids in Color, to give the video a more filmic look.