Category Archives: F) Resources

You Can’t Polish a Turd….

February 20, 2018 By in E) FCPX, F) Resources, Run 'N Gun Videography, Uncategorized Tags: , , , 1 Comment

…But You Can Roll it in Glitter

 

Sorry, I heard that expression recently and just had to use it.

The point is: Sometimes things don’t go according to plan.

None of the videos shown here were turds really, but I did have some ‘issues’ to do with lighting. So this is really about color correcting and other image handling tools one can use.

As a note, the whole subject of ‘grading’ is popular today, particularly amongst an apparent group of ‘newbies’ who think it’s the next one-button solution to creating a ‘filmic look’. Nothing wrong with hoping for that, but it’s too often evident that they neglected to invest any time into basics such as ‘how to make a movie’. In short, I’m finding those forums a bit annoying. So to be clear, this isn’t really grading. It’s color correction with a couple extra tricks.

So let’s get practical, at least on the corporate video front. It’s simple: You make the guy or girl (or whatever other genders they have these days) look good. THAT’S ALL.

I’ll be covering two different videos I did recently.

On this first one I was having to solve a problem (I thought) of having forgotten my main LED interview lighting kit. Fortunately I had one back-up floor soft box with me and was forced to come up with something with the one light I had along with what was available in terms of room lighting. It was an interview with a Duchess on a tight schedule, so “oops, I forgot my lights…” as an excuse was out-of-the-question.

Needless to say, this was very naughty of me.  It’s just one of those things that can happen so you have no choice but to carry on as if nothing has happened at all and make it all come off anyway.

For comparison, here’s a still from an interview with the Duchess last year in the same location when I didn’t forget where my lighting kit was:

Standard key, backlight and fill and good subject to background contrast ratio. Controlled lighting.

 

Here’s what I managed more recently when  I only had one light to work with:

Camera Original

 

Here’s how I polished the turd:

FCPX Color Tools, Colour Finale Pro, CoreMelt’s Vignette Shape Mask

 

Not as punchy as the first correctly lit sample, but better than the camera original.

First I color corrected it using the FCPX color tools and ColorFinale Pro (to bring up her blue blouse). This was before FCPX 10.4 which can do the same thing.

Then I used a ‘make-up’ program to soften her face (which I typically use on females of her age). Subtle, but nothing she or anyone else would notice. (Someone’s going to ask: I used PixelFilmStudios ‘Skin’ plugin. I don’t buy from them anymore, but I had it and it works well. –Buy from Motion VFX instead)

Finally I used one of my favourite tools, a vignette shape mask from CoreMelt which allows you to completely control the size, shape and density of a vignette. I use it often, even when I have lit the scene to the best of my ability. It allows me to create further contrast from subject to background when I am not able to achieve it satisfactorily on site myself. You can get it here FREE in CoreMelt’s ‘Slice X’ package. Go ahead and get it. You’ll love it. (There’s even a Photoshop style ‘Object Remover’ for video and a few other clever tools). But I guarantee you’ll find yourself using the vignette shape mask often.

Screen Shot: CoreMelt’s Vignette Shape Mask

While that interview was done for several videos, here’s one of them that’s public now:

And here’s the next one:

P.S. (It turns out the LED flexlites were with me the whole time, tucked into an  outer pocket of my camera case for a little shoot I had done recently. (they take up very little room)

Lesson learned: if you’re going to modify your kit bags for a particular shoot, PUT THINGS BACK to where they usually are directly thereafter)

Turd Number Two

Ok, this one was less my fault.

I was at our house in France where we are good friends with our American neighbours Vinx and Jennifer. Vinx is a musician who has performed with many famous musicians from Isaac Hayes to Sting and is currently doing his own thing touring around the world. He’s a vocalist and percussionist. (Vinx.com)

Anyway, they got married there in Chalabre last year, part of which was a big concert to thank the town. It was called ‘Night of Serenades’ and featured 20 different acts, professional and amateur, all performing serenades to someone in the audience who was seated in a special chair in the front row and presented with a large bouquet of roses before their serenade. It was so popular that the town asked that it be done again next year (and every year thereafter).

If you’d like to see the short wedding video I did featuring Vinx’s serenade to Jennifer (which took place in the covered market in front of our house), you can watch it here.

So…this years’ Night of Serenades will be over 3 days preceded by a few more days of music related workshops. The venue has expanded to 3 stages across the town and includes serenaders performing from balconies around the town’s main ring road and lots more. It’s a big deal.

So they asked me to do a video to pitch to potential local sponsors.

All I had with me was a Sony RX10ii (a down-version of something like the Sony A7, but a gorgeous camera that happens to have the same sensor as my X70–which is why I bought it). I had no lighting or audio equipment.

Of course we’re sitting in front of a mix board, but Vinx was busy with a deadline and setting up a mic and audio feed was going to be a bit of a problem. Since this was a small distribution video for some local vineyards and other businesses in the seeking of sponsorship, we decided to do the best we could with a little omnidirectional mic Vinx uses on his GoPro cameras.

Original. Overhead fluorescent lighting.

 

Knowing that I would be using the vignette mask, I moved Jennifer forward so it would look ok with the background being a bit darker.

Similar to the last sample, I used a combination of FCPX’s shape mask and colour tools to correct colour and contrast followed by the vignette shape mask to create some depth to the background while spot lighting the main subject.

Colour Corrected with Vignette shape mask

 

That, I’m afraid, is an example of ‘run and gun’ Emergency Room procedure. Or, in the U.K., A&E (Accident and Emergency).

P.P.S.  Because I sort of stole the image, those are Unicorn Turds pictured at the top of the page. If you want to buy some, you can get them here: http://tetragrammatron.com/unicornturds.html

 

 

 

 

 

 

Just An Fashioned Music Video

July 7, 2017 By in E) FCPX, F) Resources, G) Music Videos, Sony PXW-X70 Tags: , , , 5 Comments

Just an old-fashioned music video–sans modern transitions, etc.

In all fairness, I have used some of the modern transitions when appropriate, but I am generally not a fan of the current craze–or any fad for that matter.

But that’s not really the point of this post.

In actual fact, this music video isn’t finished yet. There’s another location shoot to do, but that won’t be until summer’s end, so for the benefit of the singer, we’ve decided to release it as-is and update it later.

The point of this post really is that I used quite a number of plug-ins for this. Probably more than in any other video I’ve produced.

John Belew’s ‘Lens Filter’ pack contains a number of very useful filters, but the one he’s got in there that I don’t think anyone else has is a ‘fog filter’. Strange that it’s so rare. In the early days of Hollywood it was pretty common and used mostly for shooting close-ups of the female stars. To get the effect the cameraman would use vaseline on the lens or stretch a stocking over it. Eventually, Tiffen made a series of fog filters which I used myself on occasion. In this video it is kind of obvious what the fog filter effect is.

For grading I used a combination of Color Finale and the FCPX color board. I often use them together.

One of my most useful tools is Core Melt’s Vignette Shape Mask which you can get free from that link. It’s a powerhouse vignette tool that has infinitely variable parameters. In this video I used it to partially mask some of the background shots so that the slow dissolve transitions to the singer wouldn’t be as jarring.

Everything else was done from within FCPX.

It was shot with a Sony PXW X70 in 4K and output to 1080.

The performance was shot with 2 cameras (Sony X70 and Sony RX10ii) over 3 different takes to obtain the different angles.

Holly (the singer) did an almost flawless lip-synch to her studio recording every time.

The edit was done as a multi-cam edit in FCPX.

Looking forward to completing it early September after a sunset shoot on the rocky coast of southern England.

Comment on Lighting and Grade

Someone asked if I could comment on the lighting in the comments.

Well, it was simple, but also interesting for me this time. By simple, it was an upstage key (flexi LED panel snooted with black foil) and a more or less opposing backlight (also a flexi-LED)  set to create that soft rim on the side of her face. Truthfully that backlight could have been a stop less bright. It was all rather slap-dash. The fill was simply ambient bounce from the room. No supplementary fill needed.

By ‘interesting’, I mean this: I knew it was a white room and I knew I wanted to go for low-key lighting (two things that don’t normally go together well). Fortunately I could shutter the windows and knew that I’ve have to flag the hell out of the key and backlight. In each case I used back foil to create a ‘snoot’ that restricted the light to a very narrow band. Of course that still gives off enough bounce to illuminate the white walls. So in post I just took the mids way down on the FCPX colour board. Nothing fancy. Didn’t affect the highlights and was adequate to considerably darken the white walls which had been reduced to mid-tones due to the flagging off the light sources in the room.

The other thing that was a bit of fun was creating the ‘day-for-night’ look on the exteriors. Again, nothing really fancy, but normally I don’t have any reason to do that (doing corporate videos), so it was fun. I used the FCPX day-for-night effect as a start and adjusted it’s parameters. I then supplemented the effect with Color Finale with which I increased the saturation of and reduced the luminance of the blues.

Incidentally, those exteriors were shot on the RX10ii which I was using for the first time on a production. Bit of a no-no because I never really fully tested it in video mode. Maddeningly I could not get it into total manual in the very brief period of time we had at dusk. As a result, I was getting exposure correction that I didn’t want and, since I couldn’t figure out how to fix it, I was trying to trick the meter. Anyway, it was a disaster, but the main point is that most of those shots were OVER-EXPOSED! Even so, I was able to fix it in post to the look that I wanted.

And now, of course, I know how to put the camera into total manual. Nothing like near-disaster to inspiring one to read the manual a little more carefully.

 

A Great Cartoon Program from FCPX Effects.com

January 14, 2017 By in C) Corporate Videos, F) Resources 3 Comments

Apologies for being quiet lately.

Anyway, I recently had an interesting project. Kind of a hybrid ‘white board video’ but using live action.

In this case, the client wanted, in part, to show off their new facility–an innovation center where new clients can come in and be advised on specialised packaging using multi-functional computer screens, 3D printing, small scale models–and just about anything they’d need to determine the precise packaging they will require for their products.

As this would be the sort of video that would play on a loop in reception (in addition to being a sales tool), it was decided to have no spoken audio track.

Instead the ‘actors’ would more or less pantomime while white-board-style hands would write on captions and the speech content would be in cartoon ‘talk bubbles’.

Not being a fan of pure ‘white board’ videos, I thought this was an interesting challenge.

It was my thought that to come off it should have a bit of a cartoon aspect to the live action, so I tried some existing programs I had from Pixel Film Studios, but found they were limited in parameter controls.

Eventually I found a great company with lots of cool FCPX programs that are very rich in parameter control: FCPX Effects.com.

I bought and tried out their ‘Cartooner’ program and submitted a version.

The company opted for the version without the effect, so I’ll show the full approved version first, followed by a short sample of the same video with the cartooner effect for info as I think some of you may find this useful either for production purposes or just for a bit of fun.

The following video was directed and produced by Leapfrog Marketing (Alan Myers – 0116 278 7788) in association with The Video Whisperer.

Cartooner Effect Test

 

Confessions of a Run and Gunner

May 18, 2016 By in A) Sony HXR NX30, C) Corporate Videos, Camerawork, E) FCPX, F) Resources, Run 'N Gun Videography, Sony PXW-X70 Tags: , , , , , , , , , , , , 2 Comments

The Ritz

 

Warning: This is an 11 minute video. The  subject is St. James’s Square, London, one of the most historical and prestigious districts of London.  All of the following will be of no value at all if you don’t plan on watching it. This is for those of you who plan to.

This video is not typical of what I do, but I treated it like any other that I do. And all that is covered in the book Run ‘n Gun Videography–The Lone Shooter’s Survival Guide.

It wasn’t typical, because it is long (11 minutes).

In the book I talk about how to do and edit interviews. Up until now, I’d say for an hour of interviews, I cut out on average about 50% or more. That means all of my questions and all of the answers that I know I won’t use. What’s left is what I use to construct the narrative.

In this case, I had just over an hour of interview, and with my questions cut out, over 95% of is was totally usable. That’s never happened before.

This was a case of a very educated, experienced and articulate Brit. There are many like him. I just never got to interview one. And I’ve done over 1000 interviews.

I already knew I was going to produce multiple properties from his interview, but when it came to the first one–an overview of the St. James’s Conservation Trust, when I got it reduced down to about 11 minutes, I felt I couldn’t cut it down any more without losing.

Sure, he didn’t say it all in the order your hear it, but in crafting an overview and knowing that it’s first showing would be to a prestigious event in St. James Park attended by a lot of very important people, I felt I just had to work with that 11 minutes and make it as visually interesting as possible.

That was what was different about it.

As to the rest, it was all hand-held, except for the interview of course.

Why is that worth bringing up?

Well try going around St. James Square and in the vicinity of a working palace and other important clubs and high-end shops in the heart of historic London with a big camera and a tripod and see how far you get.  The client was even concerned that I get all the right ‘permissions’. I told him, “don’t worry about it”.

All that B roll was shot with my teeny weenie Sony HXR NX30 hand-held.

The interview was shot with my Sony PXW X70. And guess what? I somehow screwed that up, inadvertently shooting with high gain.

Though we were in the offices of the Ritz Hotel, we weren’t able to get a suite in the Hotel for the shoot. I was your typical white room. So to get that interview look I had to 1) apply Neat Video de-noiser to it, 2) use Color Finale to get the best separation from subject to background (after doing my best with foil to keep spill lights off the back wall) and , 3) Used the vignette tool from Digital Rebellion (it’s awesome–much better than the FCPX tool, because you can manipulate it on all axises, control its shape, ctc.)

TIP: When using Neat video, get your look, then disable it. It’s very processor intensive and whenever you change an edit it will want to re-render again. So get your look, disable it, and when you’re all done, re-enable it and let it render everything one time.

The other regular practices were shooting tons of B roll and how I found a stock music piece that worked (two in this case) and made them seem like they were written for the video. Seriously, if you manage to watch it once through, try again and just listen to how the music plays to and enhances the narrative. It was pretty magical–considering it’s stock.

B roll:  As much as I preach about shooting TONS of B roll to cover your edits, even I, in this case, did not shoot enough. In fact I made 3 trips to London in all. And still didn’t shoot enough. There was just SO MUCH covered in more than an hour of interview, I was lucky to scrape by in order to produce this one (and the next one I’m working on now). More properties will probably develop from this, and when that happens I’ll edit the narrative first and then get back on a train to London with a list…

Shooting handheld:  Shooting hand-held is one thing. You should also know that for almost all of these hand-held shots I applied 50% slow mo. And in most cases ALSO added stabilisation. Some from FCPX and some using CoreMelt’s ‘Lock and Load”.  Also (did you know?) that once you apply any kind of speed change in FCPX, you can then select a video standard of either ‘frame blending’ or ‘optical flow’. I used optical flow which smooths it out just a little bit more. Also, in some case (shooting those wall plaques), I shot them both as stills (on the NX30) and as slow zooms. In the edit I wound up animating the stills rather than using the zooms. And finally, (as dictated by the edit and conformity with surrounding shots, i.e. continuity), I also often applied manual key-framed zooms to my shots.

Marketing yourself: Also covered in the book. Relevant here is this: Sometimes you do something for cheap with malice aforethought. I had done another video for an organisation that had often asked but never hired me. Finally I did a birthday video for the daughter’s 18th. That was so well received I was asked to do one for the organisation–for cheap. I did it because I knew their upscale clientele would see it and it would likely get me more business. It got me two commissions worth £6000, including this one.

Now you know all my secrets.

Ok, so this is run’n gun. As covered in the book, it ain’t perfect. It won’t stand up to the scrutiny of the various film geeks out there. But it does the job and the stuff that the geeks will gleefully point out won’t be the things that the intended audience will ever see or concern themselves with.

The test is, does it get the message across with clarity and impact.

 

Free Book Offer: Run ‘n Gun Videography–The Lone Shooter’s Survival Guide

May 2, 2016 By in F) Resources, Run 'N Gun Videography Tags: , , , , , , , , , , , , , , , , , , , , , , , , , 8 Comments

Run 'n Gun Videography

I’ve decided to enrol in KDP Select which gives me some promotional options including making the book available for FREE for 5 days.

So that’s what I’m going to do.

I’m doing it for two reasons.

  1. I’m locked into KDP select for 90 days during which period the book can only be available on Kindle. So that gives me a sort of deadline for making the book available in soft cover and putting it on other platforms. I can’t promise it, but it’s a good target for me because I’m going to be pretty busy before then anyway. Plan is to update it and make it available in hardcover next fall.
  2. Though the book has sold a few hundreds copies, it’s only gotten about a little over 30 reviews between the UK and US markets. They’re all good reviews, but I’d like to see a lot more reviews.

The Free Download Offer is NOW LIVE on Amazon and runs through Sunday.

I hope that most of my subscribers here who don’t have it yet will take the opportunity to download it.

In exchange I have a humble request: Please review it on the Amazon page once you’ve read it.

US Amazon Link

UK Amazon Link

Available world wide.

YouTube Analytics

November 5, 2015 By in B) TUTORIALS, F) Resources, Run 'N Gun Videography Tags: , , , , , , , Leave a comment

YouTube analytics

I recently produced a short promo video that performed surprisingly well in its first 5 weeks online. In fact, it’s out-performed any other video I’ve produced like it.

When a video performs well or badly, YouTube analytics is a handy and comprehensive tool to determine why.

You’ll find the analytic metrics in your  YouTube ‘video manager’.

The metrics I tend to be interested in are, 1) traffic sources, and, 2) Audience Retention. There are a lot more metrics being tracked including views per country, viewer demographics, etc.

Traffic Sources

Traffic sources tells you if the video is being viewed from the YouTube watch page (organic search), as a suggested video by Youtube (someone watched something else and Youtube suggested yours to watch next) from an embedded website, etc.

Audience Retention

Audience retention can be viewed as ‘absolute retention’ or ‘relative retention’.

‘Absolute’ tracks every minute your viewer watches your video. It shows you where they start dropping off and also tells you if they watch it more than once or watch certain parts over again (indicated when the retention percentage exceeds 100%).

‘Relative’ compares your video’s performance with other videos that YouTube deems similar to yours. Here you can see if your video is performing average, above average or below average.

As I mentioned in the book Run ‘n Gun Videography–The Lone Shooter’s Survival Guide, it is folly to expect that 100% of people watch your video all the way through. Even popular viral videos probably don’t achieve that. For one, there are those who click on it and click right off realising it was not what they were looking for. For two, they tend to click off when they perceive it is done if they do watch it all the way through, but may not stay on for any ‘end credits’. For three, people may stop watching when you’ve ‘sold’ them on whatever it was you were trying to do (in the case of business or fund-raising videos, product videos, etc.) –and that would be the purpose of the video in the first place.

“Attention Span”

This is not a metric, but it bears mentioning that you’ve all heard that videos should be ‘such and such’ a length due to the ‘short attention span’ of people. This is simply false. A video can be as long as it keeps the attention and interest of the intended audience period. Any other datum is simply the confession of video producers who produce crappy videos.

As an example, my most popular videos (the NX30 and X70 reviews) were both long videos. 14 minutes I believe for one and the other was even longer. Yet between them I think they’re well over 175,000 views with tons of engagement (comments, likes, shares, emails to me, etc.) and the audience retention is about 35% which I think is quite good. Look at it this way: 60,000 people watched the entirety of both videos.

But my recent promo for the Belvoir Castle shoot exceeded even that.

It appeared that Belvoir Castle uploaded the file I gave them directly to their servers, so that was not a source of the views counted by YouTube. The other site it was embedded on was Guns and Pegs (which was a YouTube link), but I doubted it was delivering that many views. So I had a look to see what was happening.

Traffic sources

Turns out only 21% came from embedded websites. 43% came from the YouTube Watch Page and 1/3 of all views were because of YouTube suggesting the video when someone was watching something else similar.

Thus, nearly 3/4 of all views were the result of an organic search.

Next I looked at audience retention.

Absolute retention

Here I found there was a very high retention rate (73%). Roughly 3/4 of all viewers watched the entire 4 minute video.

Relative audience retention (how the video performs compared with similar videos), showed it to be ‘above average’ through most of the video.

Relative retention

How did they find the video?

That is attributed to the relevant title, tagging and description I gave it. (mind you, this is for a targeted public–those who are interested in paying big bucks to shoot on a country estate, and to a lesser degree, those generally interested in the subject of shooting or Belvoir Castle).

Why did they watch as much of it as they did?

That can only be a measure of the quality of the video to get and keep their attention.

As you can see, using these analytics, one could go back and modify a video to improve it by seeing where attention drops off, evaluating what caused it and then remedying it. As for me, I usually just let it go if it seems to be doing its job.

There’s a chapter in the Run ‘n Gun Videography ebook that goes into greater detail on how to optimise videos for YouTube, and even then, there’s much more to it than I covered. But I did cover the essential basics based on my own experience.

Message

Message is a big subject in that book and it might interest you to know that when I produced this particular video, the client had quite something else in mind. It took some fancy dancing to go ahead and produce it the way I did and then get them to watch it with a looming unalterable deadline facing us. After all, it was their interest I had in mind, not any desire to make myself look good. They loved it, so again, the point made in the book about the seniority of message was well proven as the video’s performance in the first 5 weeks has been very positive. You just have to understand and be able to clearly communicate the intended message and disregard ideas to the contrary.

FCPX–Cutting a Live Show Using the Multi-cam Editor

July 27, 2015 By in B) TUTORIALS, E) FCPX, F) Resources Tags: , 2 Comments

Just saw this short clip showing a sample of cutting a live show (cameras still recording) in the multi-cam editor in FCPX on a Mac Pro.

It’s a 4-camera sample and the live recordings are happening at the same time on the same Mac Pro whilst the shots are switched live in the multi-cam editor. I don’t see why it wouldn’t work for 6,9 or 12 cameras.

https://www.youtube.com/watch?v=-WuJotQsB7Y&feature=youtu.be

Boris FX Filter Package Giveaway

July 16, 2015 By in E) FCPX, F) Resources Tags: , 24 Comments

Boris (1) Features: 21 Filters & 300+ Presets • Stagelights, Spotlights & Volumetrics • 3D Lens Flares & Sweeps • Glitters, Glares & Glints  • Cross-host License Compatibility:  Adobe After Effects, Premiere Pro, Avid Media Composer, FCP X (Motion 5), Resolve, Sony Vegas Pro Operating Systems:  MAC OS-X, Windows Note: Go through the entire ordering process.

With the coupon code entered ‘bcclights’ just before hitting ‘submit order’ the price will change from $299 to $0. Valid until 31 July 2015. http://www.borisfx.com/store/products/continuum-units/lights/

Here’s another link for the same: http://us6.campaign-archive1.com/?u=067f5a758fc7da9813d25d913&id=1f0ee7e88c&e=38a1b4f538

Some have replied to the first one saying “it doesn’t work”. It will work. If you’re not a current Boris FX customer and don’t have a login you do have to register. And you do have to fill in everything, including card details. The coupon window will be there the whole time, but the ONLY time it matters is after all other details are entered. You then enter the code and then hit submit. The price will change to $0 and where your card details were entered it will say (to the effect), “payment details not required”.

I received my download link and have downloaded and installed. So don’t worry. All they’re getting out of this is your email address and your details so that–if you want–you can easily order and pay for anything else in the future.

Deal for FCPX Users, New and Old

June 23, 2015 By in B) TUTORIALS, E) FCPX, F) Resources Tags: , 1 Comment

I’ve been touting Izzy Hyman’s FCPX tutorials for a few years now as being the best on the web.

They got me from confused to ‘up and running and having fun’ in one day.

I’m just going to pass on an email I just received where Izzy is making a special offer for a few days on his beginning and pro FCPX tutorials and beginning Motion tutorials, plus some other stuff–all for $39.  Mind you, that’s HOURS of tutorials.

I get no kickback from this.

Here’s the email and link:

To celebrate the fact that I’ve officially started creating my
next-level Motion course, I’m launching a giant bundle that only
lasts a few days.

From now until Friday, I’m offering a massive bundle that includes:

* My downloadable basic Final Cut Pro X course ($37 value)
* My Advanced Final Cut Pro course ($49 value)
* My basic Motion course ($49 value)
* My Final Cut Pro X Theme Bundle #1 which includes
  10 themes ($39 value)
* My Final Cut Pro X Theme Bundle #2 which includes
  11 themes ($39 value)

I’ve never offered this bundle before!

You’ll get $213 worth of my products for only $39.

And the bundle only lasts until Friday, June 26th. After that,
these go back to being individual products.

Make sure you don’t miss out. Get the bundle right away.

Click here to get started.

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