Archives for September 2012

i-cuff Viewfinder Eyecups

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The only viewfinder eyecup in the world your camera crew needs that’s breatheable, minimizing fogging, cuts the light like no other whether wrapping around glasses or up against the face. Washable, waterproof and will take over 100,000 rubs before it needs replacing. Comfortable, soft ultrasuede fabric against the face rather than the uncomfortable rubber that gets hot and cold and smears. Rotate 45 degrees counterclockwise to act as a shade over the viewfinder while shooting away from the face whether overhead, or under arm down low!

 

    • Velco straps for individualized positioning & personalized fit

 

    • Contoured wrap around design

 

    • Superior light-blocking

 

    • Works fablously with or without glasses

 

    • Fits most pro and semi-pro video/film cameras

 

    • Ultrasoft chamois offers the ultimate in comfort

 

    • Waterproof, breathable, lightweight, and washable hi-tech fabric

 

 

 

See what you’ve been missing…

 

 

 

 

 

Handheld Camera Stabilizer System: The CameraRibbon

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If your crew has ever shot video with a handheld camera you understand the importance of a camera stabilizer. They serve a very important role in getting professionally crafted steady shots in run & gun or ENG style shooting situations. There are many options on the market, but one in particular stands out because of its simple design and ergonomic features.

 

What Is A CameraRibbon?

 

 

The CameraRibbon was made primarily for ENG style shooting, where steadiness, light weight, speed and balance are essential…and no assembly is required. It is crafted from a single ribbon of 1/8th inch solid aircraft grade aluminum which is sized for various camera models. Using aircraft grade aluminum gives the CameraRibbon its light weight and durability features making it easier and lighter than carrying around a tripod. It also utilizes a sturdy one inch diameter solid aluminum, rubber covered hand grip to allow for a very comfortable and stable point of contact. On the back is a small vinyl covered lead counterweight mounted low on the back of the ribbon provides counterbalance.

 

 

One of the main features to the CameraRibbon is the four points of contact the videographer has with the camera. The shoulder, the camera, the handgrip, and the viewfinder are the points of contact a camera operator will have when using this stabilizer. This allows, not only for a very stable shot, but for a less fatigued camera operator. With four points of contact the weight can be distributed throughout the upper body of the camera operator allowing for longer periods of filming and less wear & tear on the videographer.

 

 

There are 2 different rigs that support the different camera models, one for standard handhelds and the other for DSLR shooters. There is an optional quick release add-on for the CameraRibbon, but it is limited to handheld models only (not DSLRs).

 

Compatible Camera Models:

 

 

 

    • Sony EX1R

 

    • Sony FS100

 

    • Canon XF300

 

    • Canon XF 305

 

    • Panasonic AG-AF100

 

    • Panasonic HVX200

 

    • Panasonic HPX170

 

    • Panasonic HVX200

 

    • Canon 5d Mark 3

 

    • Canon 5d Mark 2

 

    • Canon 7d

 

    • Nikon D800

 

 

 

If you are an ENG or run & gun style shooter and you own one or more of the above mentioned camera models, you might want to take a serious look into the CameraRibbon stabilizer system. It has been proven on many rugged day long handheld ENG style shoots with great success and minimal fatigue. It is an American made and manufactured product that was invented by a Crews Control Camera Operator. For more information on the CameraRibbon or to purchase one, you can visit cameraribbon.com or you can find the product on B&H Photo-Video and Fullcompass.com.

 

 

 

Everything You Need For On Location Editing

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“What’s the turnaround time?” This is one of the most dangerous questions in the editing community. Clients and Producers are now requesting location editing more than ever and it’s not just the news that is under strict deadlines. Now corporate clients request location editing with their video crews so they can upload a final edited piece in a couple of hours. Whether it’s editing a package from an event or just trimming up a news conference, nothing is easy when you are editing onsite. Location editing packages should come with the following programs:

  • Editing Software: There are three major options: Final Cut Pro, Avid Media Composer, and Adobe Premiere Pro. There are many other options out there, but these are the three major programs I will be discussing.
  • Audio Suite: This will help edit, mix, and add effects to audio. The editing program will have audio suite built into it, but it is usually limited in what you can do with it.
  • Compression Software: Raw high definition video files are large in size. To get that final edited and uploaded to the website you need a compressed file. Popular compressions are H.264, .FLV, .mp4.

Here is what the Final Cut, Avid, and Adobe suites will provide if you choose to purchase them.

Final Cut Pro: (Only Available for Mac) Final Cut Pro 7 Suite has Soundtrack Pro (for audio), Motion (for motion effects), and Compression to cover all the bases. However Final Cut Pro X has stripped and combined Motion and Soundtrack Pro within the Final Cut editing program and not as additional software. Compression is still available for Final Cut Pro X as an additional software program.

Adobe Premiere Pro: (Available for Mac & PC) Adobe Premiere Pro is available as a standalone editing system and as part of the Adobe Creative Suite. The Adobe Creative Suite 6 includes Premiere Pro, After Effects (for special effects), Audition (for audio), and Media Encoder (for compression) as well as several other Adobe programs.

Avid Media Composer: (Available for Mac & PC) Avid Media Composer Suite comes with Avid FX (for special effects) and Sorenson Squeeze (for compression). However, it does not have a separation audio production program.

You can also add third party programs to your location editing arsenal if you feel underwhelmed by the programs in the suite or you just need additional software. This gives you the flexibility to find the best software, or the best software for the price and its ease of use. Here are some examples of third party programs for what should be included in a location editing suite.

Audio Suite: The major player in audio production is Avid Pro Tools. It has been the industry standard for audio production software, but comes at a premium price. Another good software program with an expedited cost is Reaper. Although you don’t get near the functionality of Pro Tools, Reaper comes at a fraction of the cost. And if money is really an issue, Audacity is free program. If you need to do one specific task, like reduce noise from a single track Audacity may be good to have in your arsenal.

Compression Software: Bigasoft’s Total Video Converter and AVS Converter are the two of the more popular video conversion programs on the market. The key to a proficient converter is the inputs it will take in and the files it can output. They have a plethora of popular compressions that can get you what you need (h.264, .MOV, MPEG 4, .flv.) for a reasonable price. There are many free applications that can do compression but they are often limited in the file types they can input and convert. Some of the popular free applications are Handbrake and VLC Media Player.

In the world of video editing every minute matters, and you will typically find yourself spending time on tasks you could have been done remotely. Having the proper editing and post production tools on location can make the clients finished video appear as if it was done over weeks of editing. The location editor and his suite must be prepared for many different environments so each package is built differently. Do you have an editing on the fly story or solution that impressed your client? Please share it with us on Facebook or Twitter.

The Crews Control Spotlight Is On: microgigantic

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The executive producer/co-founder of the new Minneapolis-based company, microgigantic, is a 22-year veteran of commercial, corporate, and interactive film production.

 

 

The business plan for his start-up is to be the solution for mid-size projects. He’ll accomplish that goal by building a branding, communication, and production consortium, which creates and produces content for corporate and event video, in-store digital marketing, broadcast, online, web, mobile, and out-of-home experiences.

 

 

Bennett has boatloads of experience in this arena, and for the last seven years was the senior group manager of media production at Target. There, he drove strategy and creative execution for traditional and emerging media vehicles, ranging from the smallest portable devices to the nation’s most advanced, large-scale urban screens. He led the team of broadcast, content, and interactive producers responsible for delivering branded communication to Target’s internal, in-store, online, broadcast, and out-of-home audiences.

 

 

Prior to his tenure at Target, Bennett spent 13 years working in Minneapolis and Los Angeles producing award-winning television commercials for national and international clients that included Target, MTV, P&G, Kimberly Clark, and Coors Brewing. As executive producer for the now defunct web publisher Kick Media, he managed the day-to-day operations and fiscal health of 16 online magazines.

 

Dipping into “The Froth Versus the Coffee” Analogy

 

 

Cup of Coffee With all of this experience under his belt, Bennett has developed a keen ability to sense shifts in the video industry. In the last year or so, the man who attributes his success to forming strong relationships says he saw more video work being generated—and not enough agencies willing to take on the smaller projects.

 

 

“I realized this was an entrepreneurial opportunity that I couldn’t pass up,” he explains. “I think of it as ‘the froth versus the coffee’ analogy, in that big agencies are missing about 75 percent of the potential video market because they are focused solely on the biggest firms with the biggest budgets. That leaves millions of dollars available to those who are willing to accept slightly smaller projects from lots of mid-sized organizations.”

 

 

With his partner, music producer Rick Meyer (Co-founder of Rumble Music and GoKart Labs), Bennett is confident that in the years to come, microgigantic will snag a huge portion of the “coffee beneath the foam.” Open for only a few weeks before this interview, Bennett says he already has three clients, including the online company Plato Learning.

 

How comfortable are you with change?

 

 

To find out, Bennett suggests asking yourself: Are you comfortable with ambiguity?

 

 

“This was one of the interview questions for prospective producers at Target, and it was really important for us to know about an employee because we were so insanely busy, and everything was constantly in flux,” he shares. “In fact, my calendar may be clear at 10 a.m., but by 10:15 I could be booked solid with 10 projects to do. The rate of change was exponential, and I ate that up because I am bored if things are not changing.”

 

 

But if you aren’t comfortable with that speed of change, then know it about yourself, Bennett insists.

 

 

“Rather than making yourself nuts, hire a firm that thrives on change—like microgigantic, and Crews Control—and take some of the pressure off. Life is too short not to be doing what makes you sing.”

 

What does microgigantic do?

 

 

About microgigantic: We just want to be a small part of your huge.

 

 

We’re microgigantic—a brand, communications, and production consortium based in Minneapolis, Minnesota. We create and produce content for any screen, anywhere.

 

 

We are a passionate, experienced team that understands the power of brand. We work collaboratively with our clients and are flexible to your needs. We’re here to help. We get it, and we’ll take care of it.

 

 

Collectively, our leadership team has more than 50 years of experience in the industry. We know brand management, marketing, music, film, production, web, and communication.

 

 

We cut our teeth at some of the biggest and best agencies and brands in the market, including Target, Best Buy, JCPenney, Kmart, GAP, Macy’s, ABC TV, MTV, P&G, Kimberly Clark, Coors Brewing, The Cherokee Group and many more.

 

 

We understand the competitive environment and know how to deliver to the highest standards. We handle projects start to finish, or seamlessly collaborate with your internal teams. Regardless of the process, we focus on you.

 

 

Services include; In-store digital and video marketing, broadcast, corporate and event video, digital, online. and mobile, out-of-home experiences.

 

 

For more information, visit microgigantic.com.

 

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