Watch What Modern VFX and Pacing Do to a Vintage Star Wars Scene

Star Wars is no stranger to face-lifts, but this one is fan-made and opens all sorts of possibilities.

FXitinpost spent two and a half years carefully recrafting the iconic lightsaber duel between Darth Vader and Obi-Wan Kenobi.


Because they wanted to see what the decidedly old-school clash would look like if it was visually consistent with the duels of the prequels, and modern Star Wars films. The verdict?

It’s pretty cool.

For reference, here is the original duel as it appeared in 1977’s Star Wars:

Now take a look at how FXitinpost updated and altered the action:

Who knew Alec Guinness had it in him!

In a piece for Fast Company, Christopher Clements of FXitinpost said the team was “inspired” by the hallway scene with Darth Vader in Rogue One.

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NAB Wrap Up, Part 5

Obviously, because I’m an editor, this final post on NAB has to be about editing. But, first, I want to mention something about a device from Tiffen that helps solve z-axis bouncing on stabilizers.

I’ve cut a lot of material from apparent first-time users of single-handed gimbals like the DJI Ronin-S. If the camera operator isn’t walking properly, the footage has a real bounce to it. And because the camera moves vertically and changes perspective, it can be almost impossible to stabilize it without distorting the footage. The Tiffen Steadicam Steadimate-S attaches to the gimbal to minimize this problem.

NAB Wrap Up, Part 5
This gimbal add-on reduces z-axis bounce.

Okay, now on to editing.

Since the new MacPro is still a mystery, if you’re a Mac user, adding performance to your workstation has been pretty limited. At this year’s NAB, Adobe and Sonnet announced support of external GPUs (graphic processing units) via Thunderbolt on the Mac.

Sonnet showed the eGFX Breakaway Box for desktop use. It comes in different models depending on the power requirements of the GPU you install. There’s also the eGFX Breakaway Puck for portable situations. The Breakaway Puck comes in two different models with the GPU already installed.

NAB Wrap Up, Part 5
Sonnet saves time with an external GPU for the Mac.

The demo I saw showed a MacBook Pro exporting an h.264 file from a Premiere Pro sequence with 4K footage and multiple effects. Normally the export took 48 minutes; with the eGPU it was 14 minutes. It was impressive.

Speaking of Premiere Pro, Adobe announced several improvements to their Creative Cloud applications. For After Effects, they showcased their Content-Aware Fill. Like a similar feature introduced in Photoshop years ago, this new feature allows you to replace unwanted elements—like signs or people—in a shot.

In Premier Pro, they showed off a new style of project bin that they call the Free Form project panel. This work area allows you to rearrange clips into a storyboard, change individual clip sizes to indicate key shots and mark in and out points. Then, you can drag that storyboard into a sequence and start editing.

Trying to figure out new ways of working with clips seemed to be a theme, as Blackmagic Design also showed a new Cut Page in their DaVinci Resolve 16 software—now in beta. The Cut Page allows you to quickly import shots and create a first cut. The interface is pared down, giving you just the tools you need, yet still allowing you to switch to the regular edit interface.

One Cut Page feature that was impressive for me was the dual timeline. It gives you access to the entire length of a timeline while being zoomed in and trimming shots. A real time saver. It also gives you the ability to move shots quickly to another time even if it is far away from the section of the show you’re working on.

And then there was the DaVinci Resolve Editor Keyboard pictured at the top of this article. It brings a jog/shuttle knob back to editing. I tried it a little on the show floor but not enough to see how it will affect a full day of editing. I hope to try it soon (available in August).

When I was at the Blackmagic Design press conference at the start of NAB, I saw a sign on the booth about an edit keyboard. It must have been created well before the show because as I recall it mentioned softkeys and a trackball(s).

If you couple a color grading trackball and ring with programmable softkeys and a motorized fader or two (to add audio automation while playing your sequence) that would be something. Maybe NAB 2020?

The post NAB Wrap Up, Part 5 appeared first on HD Video Pro.

How Feelings, Fandom, and Filmmaking Converge in the ‘GoT’ Finale

“Game of Thrones” expanded the scope of television, captured our imaginations, and pissed off a lot of fans.

Today is the first Monday without a new episode of Game of Thrones to look forward to, and I can’t help but feel a bit empty inside.

The past eight years were a helluva ride, but I’m also left with a bad taste in my mouth because of how it all ended.

Are you angry that Game of Thrones is over? Confused about how it ended? Wondering which of the many new and returning series HBO was pushing last night might help fill the dragon-sized void? Well instead of focusing on those things, we ask that you redirect your thoughts to the “how” of maybe the biggest show to ever hit TV screens.

Game of Thrones broke most of the rules left in the book and captured everyone’s imagination.

Let’s jump into the stories’ story.

The World Across The Hudson River

It all began when a young boy was staring out his window in the projects of Bayonne, New Jersey looking at Staten Island and imagining far off lands.

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Filmmaking Motivation: How to Get Over Your Filmmaking Fears – WATCH THIS | by Alex Ferrari

Filmmaking Motivation: How to Get Over Your Filmmaking Fears – WATCH THIS Every week I’ll be posting new videos as part of my Weekly Filmmaking Motivation Series to help the #IFHTribe along with their filmmaking and/or screenwriting path. We all need some help, guidance, motivation or inspiration on our long journey in this crazy business…

The post Filmmaking Motivation: How to Get Over Your Filmmaking Fears – WATCH THIS | by Alex Ferrari appeared first on Indie Film Hustle.

How to Storyboard: Envisioning a Film’s Look

How to Storyboard: Envisioning a Film’s Look

As a filmmaker, how to storyboard is a critical skill in bringing the story from script to screen. But for someone who has yet to take this step, the central question may initially be what exactly is storyboarding? In short, it’s putting pen to paper — or using digital software — to draw out the scenes that will become the visual road map during the filming process.

While every filmmaker may differ regarding to what degree they flesh out their storyboards, having them offers a clear direction from which the entire production crew — including the Director, Cinematographer, Production Designer, Costumer, etc. — can move forward to create a cohesive look for the film. Given the highly collaborative nature of filmmaking, storyboards offer a critically important blueprint of what a story is going to look like on screen that all members of the crew can continually refer back to throughout production.

So where to start? The steps below highlight some of the key stages of how to storyboard:

  1. Study the script
  2. Select character positions
  3. Decide character motion and camera movement
  4. Determine background elements
  5. Include shot numbers
  6. Assemble storyboards

Study the Script

What eventually becomes part of a storyboard can typically be traced back to what was in the script. Every element of a script — slug lines, dialogue, action — can inform what belongs in a storyboard, so it’s crucial to first analyze the screenplay.

How a filmmaker wants to label the elements of a scene is entirely up to them. Some prefer using computer programs that help to identify and categorize various components like character, wardrobe, and setting. Others may instead physically mark up the script with highlighters to differentiate those elements. Should a filmmaker choose the former, they have at their disposal a wide array of software options, many of them entirely free to use. Among some of the more popular digital storyboarding options are Boords, Frameforge Storyboard Studio, Moviestorm, Plot, Studiobinder, and Storyboarder.

This stage of storyboarding is important for two reasons. Not only will it aid the filmmaking crew in identifying what will be required for each scene, but also it can help to clarify budgetary needs. For instance, if a scene is set in the Empire State Building, the filmmakers will have to address whether they intend to film on location or replicate that venue, a decision which usually will be based on cost.

At this early stage of the storyboarding process, a filmmaker may also want to make the decision of aspect ratio, meaning the dimensions of the film as a whole. Why would this be important before the camera equipment is even rented for the shoot? Because aspect ratio will determine the size of the storyboard frames. Most features are shot with either a 1.85: 1 aspect ratio or 2.39: 1 aspect ratio, depending on the film genre.

Camera movement can also be shown in a storyboard through the use of arrows. Tilts, pans, zoom-ins, zoom outs, as well as other types of camera movements, must be clearly described during the storyboarding process so that the cinematography unit can better understand what will be expected of it during production.

Select Character Positions

Not every shot will include a character. Especially in the beginning of a scene, an establishing shot may only be that of a city skyline or rural farmhouse. But in learning how to storyboard, filmmakers should prioritize the placement of any character in a shot that calls for them.

Deciding where the character will be in the storyboard may sound relatively straightforward, but several factors should be considered. For one, character placement is important for blocking purposes, meaning that it will indicate to the Actors where they should stand, sit or otherwise be present from shot to shot. Two, character placement will help in providing subtext to any given scene. Positioning a character front and center in a particular shot may indicate their power or control over others in that scene. In contrast, placing a character towards the side or background of a shot will effectively lessen their literal and possibly contextual presence. Three, with character placement may come decisions about how they look, including hairstyle, makeup and costume.

Decide Character Motion and Camera Movement

Few shots in a film are truly static, where neither the characters nor the camera are moving. In many cases, both are happening simultaneously. As a filmmaker, it’s important to indicate these elements to clarify for the rest of the filmmaking team how to approach each storyboarded scene.

The element of motion is often described through the use of arrows. So if a character is running from left to right in a particular shot, an arrow pointed towards the right can show that motion. Arrows can also indicate if a character is moving from foreground to background or vice versa. In fact, arrows can be used for any display of movement, including if a character is required to twirl in circles in a particular scene, making them a highly versatile tool.

To better estimate if a character’s movement in a scene will work, some filmmakers may go through the additional step of creating an animatic, which is basically a set of storyboard frames strung together that actually show the motion of the character. With modern filmmaking software, the creation of animatics can be done rather easily.

Camera movement can also be shown in a storyboard through the use of arrows. Tilts, pans, zoom-ins, zoom outs, as well as other types of camera movements, must be clearly described during the storyboarding process so that the cinematography unit can better understand what will be expected of it during production. Mapping out camera movement can also help in deciding if continuity is being preserved from shot to shot.

At this point, filmmakers should also add descriptions of the type of shot and camera angle being used for each storyboarded frame. For instance, is the shot a close-up? Is the camera intended to be looking down from a bird’s eye angle? Again, providing clarity regarding specific camera shots and angles for the rest of the filmmaking crew will only help to ensure that the actual production process will go as smoothly as possible.

After sending out their storyboards, a filmmaker should prioritize having their production team look over them so that a conversation can be had about any potential issues, errors or questions. How to storyboard is often a lesson in revisions, as is much of the early filmmaking process.

Determine Background Elements

The next question after deciding character placement and movement in a shot is what surrounds them? Are they relaxing in an Italian villa or walking through New York City? Both scenarios instantly bring to mind markedly different settings, which need to be brought to life through the storyboard.

During the storyboarding phase, it’s the job of the filmmaker to faithfully recreate on paper the scene described in the script. That means for every shot deciding exactly what needs to be in it, and what those background elements are depends entirely on the story being told. Again, that is why step one of how to storyboard sets the foundation for the rest of the process. By paying attention to what is in each scene — or inferred from it — the filmmaker can then flesh out the shot beyond the character with those necessary elements.

How detailed the background elements are in a storyboard is ultimately up to the filmmaker, but it should be noted that storyboards are meant to be shared. As a result, including as much detail as possible can only help the rest of the filmmaking team to better and more quickly understand what is trying to be conveyed in each scene.

Include Shot Numbers

Label. Label. Label. Once all the basic information such as character placement, camera movement, and background elements are drawn or described for each storyboard, it’s essential to number each frame in chronological order.

Filmmakers who use digital software for their storyboarding needs will likely have this step automatically completed for them. For those who prefer to storyboard by hand, perfect execution is mandatory. Having even one shot labeled out of order could mean a costly and/or time-consuming mistake, so taking the time to carefully number every frame is key.

Because some shots may actually be comprised of more than one storyboarded frame, filmmakers should include secondary symbols like ‘1a’ and ‘1b’ to frames that belong to the same shot in order to both differentiate and chronicle them.

Assemble Storyboards

Once all of the above steps have been completed for each scene in a script, it’s time to arrange the storyboards and disperse them to the appropriate individuals. However, a filmmaker’s work is far from over at this stage.

After sending out their storyboards, a filmmaker should prioritize having their production team look over them so that a conversation can be had about any potential issues, errors or questions. How to storyboard is often a lesson in revisions, as is much of the early filmmaking process. For instance, another member of the production crew might have a better suggestion for a particular shot or they might have interpreted a particular scene in an entirely different manner than what was storyboarded. This final phase of storyboarding is when concerns should be discussed and worked into updated depictions of each shot. Only once the appropriate individuals have all signed off in agreement on the storyboards should the project move forward to production.

This final step in how to storyboard exemplifies why the process is so critical to a successful film production. Even the most modest of films require significant collaboration between dozens if not hundreds — or even thousands — of individuals. While executing the vision of the screenplay is of primary importance, into that execution is a considerable investment of time and financial resources. Few productions have an open-ended budget, which is why storyboarding well can help to save precious dollars and energy later.

Many filmmakers are eager to make the leap from script to production as soon as possible. But if in the position of heading up a film project, they should recognize that a thought-out set of storyboards will be much appreciated by the rest of the filmmaking team, making how to storyboard a vital part of a successful film production.

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Digitize your entire set…free, using Meshroom

3D camera tracking has become an essential tool for most filmmakerseven if just for matchmoving titles to scene geography. But until fairly recently, the ability to recreate your scene inside a computer’s 3D space required expensive on-set Lidar survey, the result of which never seemed to quite line up with the 3D camera track. There are software solutions out there like Agisoft, but they’re quite pricey.

Now Meshroom offers exactly such a solution, for free. This is one of those surprising open-source projects that feels as polished as a commercial offering. Meshroom will take in your source footage and magically recreate a digital mesh representing the set pieces, along with a virtual camera solve. This is amazing for things like reprojection, object removal, adding depth of field in post, accurate depth relighting…the list goes on.

What’s the catch? Well the only real catch is that the documentation is currently pretty scarce (that’s where its open source roots start to show. The documentation that is out there focuses on Meshroom’s more common use as a 3D scanner tool.

Don’t sweat it though: over at we’ve put together a 20 minutes survival guide specifically focused on using Meshroom for film work. So grab some footage and head over to for our completely free (like everything else on the site) guide to scanning your film set with Meshroom.

The post Digitize your entire set…free, using Meshroom appeared first on ProVideo Coalition.

Outdoor and Wildlife Photography Safety

Outdoor and Wildlife Photography Safety

As I’m preparing to search for black bears to photograph, my personal safety has certainly come to mind a few times. When photographing wildlife, the combined safety of both ourselves and the species we are seeking out should be the top priority. In this article, I go over a few things to keep in mind when you head out into the great outdoors with your camera.

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Edit Faster with These Avid Media Composer Shortcuts [Infographic]

Speed has a lot to do with being a good picture editor.

Picture editing is about creatively approaching story structure, knowing how to fit puzzle pieces together to create moments, and utilizing reactions to help dialogue flow smoothly. But perhaps the most important thing when sitting with a client is knowing how to do those things quickly, and to be fast is to know your keyboard shortcuts.

It’s amazing how much time it actually takes to move your hand from your keyboard to your mouse and back again, and that time adds up. Some research shows that knowing keyboard shortcuts could save you upwards of 8 days of work per year.

We’re now seeing products like tablets or Blackmagic Design’s new editor keyboard come out to help editors do their jobs faster. Being a “mouse-less” editor is valuable! Especially when working with Avid Media Composer, which relies heavily on track patching to assign destinations in a sequence for your edits.

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ReelSteady GO – Stabilizing App for GoPro Footage, Better Than HyperSmooth?

ReelSteady GO is a standalone desktop application, which can automatically stabilize footage from GoPro cameras (HERO5, HERO5 Session, HERO6, and the new HERO7). It uses the information from GoPro’s gyro sensor to provide much better results than simple image analysis. Its creators claim it is even better, than GoPro’s own HyperSmooth stabilization built-in in the HERO7. It is now available for $99 US.

ReelSteady GO can stabilize GoPro footage in post production.

You might still remember the impossible drone shots from Robert McIntosh. He filmed a couple of fly-through videos with his tiny custom-built drone with stripped-of GoPro HERO4. The footage straight out of camera was of course not stabilized. The resulting clips were stabilized in post production using ReelSteady plugin for Adobe After Effects. The level of stabilization is really impressive. If you missed our articles about the impossible drone shots, you can check them – first video and second video.

The professional ReelSteady stabilization plugin for After Effects is being sold for $399 US. Since this price tag may seem a bit too high for some filmmakers, the company now introduced a more affordable alternative in form of ReelSteady GO. It is a simple standalone desktop application, which will automaticaly stabilize clips from GoPro HERO5, HERO5 Session, HERO6, and the new HERO7. How does it work?

ReelSteady GO

Just like the ReelSteady After Effects plugin, ReelSteady GO app too looks like a very capable stabilization. It uses gyro data from GoPro cameras instead of traditional image analysis. That gives great results on virtually any shot. In fact, ReelSteady creators claim their stabilization beats GoPro’s own HyperSmooth included in the HERO7. To support this claim they showcase few comparison shots in their promotional video.

The user interface of the app is very simple and straightforward. With one button, you can load the desired video, the app will automatically stabilize it. With another button, the video can be then rendered and exported.  Camera model, settings, and sync points are automatically detected and applied.

ReelSteady GO features a very simple user interface.

The sync points in the video can also be adjusted in case you are not satisfied with the result of the automatic stabilization. More on this in the ReelSteady GO tutorial video.

As I already said above, the app only works for footage from GoPro HERO5, HERO5 Session, HERO6, and the new HERO7. I personally welcome an app like this, because I own the GoPro HERO6 and I filmed a lot of clips with it in 4K50p in H.265, which is a mode that does not support any stabilization with that camera. Now with ReelSteady GO I can stabilize it in the post.

The ReelSteady GO desktop app is available for both Windows and Mac computers and it costs $99 US. There is also a free trial version available, so you can try it out before purchasing. The trial version has full functionality, but it will burn a “DEMO” watermark in the resulting stabilized clip.

What do you think of the ReelSteady GO? Do you have some unstabilized GoPro footage which needs a treatment? Let us know in the comments underneath the article.

The post ReelSteady GO – Stabilizing App for GoPro Footage, Better Than HyperSmooth? appeared first on cinema5D.

‘Game of Thrones’ Goofs Again, This Time with Water Bottles

Most of us remember the now-infamous coffee cup that appeared in “The Battle of Winterfell,” but now it’s time for the sequel—water bottles in King’s Landing.

Spoilers ahead for the Game of Thrones series finale.

There were a lot of issues with the series finale of HBO’s fantasy epic, which aired last night, but perhaps most egregious is the appearance of not one, but two water bottles in the scene where Bran is chosen to rule over the remnants of Westeros.

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The Queen of England Is Hiring a Social Media Manager… and That Is Where the World Is At

The Queen of England Is Hiring a Social Media Manager... and That Is Where the World Is At

Social media has become an important part of any business, especially if your business is reliant on your image, attention, and being the figurehead of a country that makes buckets of money off of tourism.

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Adobe Creative Cloud discontinued apps: Adobe clarifies its letter and list


When Adobe published, recently, a list of software that could not be used any longer, it mixed CC apps with CS apps as Premiere Pro 6. I finally got a reply from Adobe about what is “legal” to use, now.

The letter sent recently by Adobe to some of its clients has not been very well received, because of  its tone, and also because by asking users to remove some of the older versions of the Creative Cloud apps, the company has created workflow problems to many professionals who depend on older versions to keep the ability to work with previous files, some of which are not compatible with the modern day apps.

ProVideo Coalition published two articles about the subject that explain some of the problems faced by editors. Scott Simmons wrote the first, David Torno the second. I wrote a third article, and while everybody dealt with the first part of the letter sent by Adobe, what really attracted my attention was the second page, which has a list of the software affected. Despite the fact that the letter mentions Creative Cloud apps, the list includes a series of apps that belong to the Creative Suite – all those numbers that do not have a CC – so I asked myself if it meant those versions were also “no longer licensed”, as Adobe stated in its letter.

Only Creative Cloud apps are affected

The list shows a series of CC apps to be discontinued. That’s correct, but at the end of the Photoshop table the number 13 immediately reminded me of the Creative Suite 6 which was my last product from Adobe. Besides Photoshop 13 the list includes, Premiere 6 After Effects 11 and InDesign 8 (also in CS6). The list continues, and includes Media Encoder 6, Animate, 12, Audition 5, Prelude 1 and SpeedGrade 6. On top of the list Adobe has a note stating: “If a product is not listed in the table below, all versions continue to be authorized. All version numbers listed below are as they appear in the Creative Cloud Desktop App”.

Not being familiar with the Creative Cloud, which I’ve never used, I reread the notes on the document distributed by Adobe and could not fully understand if Adobe’s statement, which read “for customers who have not yet updated to the latest version of the Creative Cloud, please note that you are no longer licensed to use certain older versions of the applications or deploy packages contanining these older versions. We ask that your organisation discontinues all usage of the unauthorised products listed in the table below…” applied to my copy of CS6. Or any other Adobe software I have under a perpetual license, from previous CS versions or Lightroom up to version 5. Because I wanted to be sure, I asked Adobe.

AdobePerpetual licenses are not included, says Adobe

Adobe’s help desk was not of much help regarding the subject, and the reply from the Public Relations at Adobe did not come in time to be published with my first article. More people was voicing their fear that the Adobe document could suggest Creative Suite 6 users also had problems, and I asked the company for a comment on the 13th of May. As I had no reply, I published the article on the 14th and finally on the 16th I received a reply from Adobe, who saw the article, stating this: “If you bought a perpetual license to Creative Suite 6 (CS6) i.e. you own serial numbers for these products, you are not affected by this and can continue to use the software as normal.”

The reply was a start, but I wanted to clarify a few more things, so I got back to Adobe with this question, which I received in time for this second article:

JA – Why, then, Photoshop 13 (which is from CS6) InDesign 8, Premiere Pro 6 and After Effects 11, which are also CS6, appear in the table created by Adobe and shared with clients, that indicates, very clearly, which software is not licensed to be used any longer. These are not CC, but CS programs. Can someone at Adobe please clarify why they appear here? (I include the table here as well as the letter).

Adobe –  The discontinued applications listed in the table are intended for Creative Cloud subscribers who have downloaded Creative Suite 6 applications under the terms of their Creative Cloud Subscription. Subscription customers will need to update to authorized versions.

Is Premiere Pro 6 in CC different from in CS?

I don’t understand why Adobe did not explain it clearly in the first place, as someone there should be fully aware, I believe, that the way the list showed versions would create some doubt. Apparently, some people moved their CS6 apps into the Creative Cloud, meaning that if they do not have a serial key now (maybe they never did and downloaded it under the CC agreement), they have lost any option of reinstalling it or even use the app, as the older versions are gone. As Scott Simmons comments in his article about the missing apps, “…I wish I also had CS6 … just in case.” Because CS6 is an important download for many as that is the version that still provides access to Adobe Encore for DVD authoring.

There are multiple stories, none confirmed, about the reasons that led Adobe to discontinue older apps. Essentially, there seems to be a problem with the use of third parties plugins, and Adobe wants to play safe. But if it is so, aren’t the perpetual license apps also affected? I had one more question to ask Adobe.

JA – What’s the difference between Photoshop 13 (which is CS) and Photoshop 14 (which is CC) that makes the later unusable and allows the previous version, – as you say – to continue being used. Isn’t the software essentially the same?  This applies to the other apps as well. What has changed? What’s the problem then?

Are software and serial number keys enough?

Adobe did not reply to this question, not even after the company has stated that the Premiere Pro 6 and all the other apps from CS6 have been available as an option for CC subscribers and are now gone. If the apps are the same, then what makes some fall under the “risk of potential claims of infringement by third parties” and others not? No answer to that, I am afraid.

Another version of Adobe’s table

As mentioned in my previous article, I looked for my app downloads at my Adobe account page and could not find them. I’ve Lightroom in physical media, and different previous versions of the Creative Suite, but as far as I remember, my CS 6 was a digital download and I’ve no boxed version. I also asked Adobe about this, and was told that “replacement media may be available via Order History in Account Management, or Adobe Customer Care can assist with customer requests.”

I did not check if the process works, but anyways, I’ve backup copies of all my software so that is not a problem. But is having the software and the serial number keys enough? Adobe’s says that “customers who purchased a version of Creative Suite 6 on a perpetual license basis may continue to use their product(s) and will be able to re-download and install them, provided they still have access to their serial number key.”

So, despite recent stories of users not being able to reinstall their older apps, CS6 included, because of “problems” with the serial number keys, Adobe does state that if you’re on a perpetual license, you have no problems. That’s the last information I got from the company. Is this the end of the story?

The post Adobe Creative Cloud discontinued apps: Adobe clarifies its letter and list appeared first on ProVideo Coalition.

Watch One Second from Every ‘Game of Thrones’ Episode

Game of Thrones ended last night and we’re ready for a rewatch but only have 73 seconds. Thankfully, the internet has us covered.

It’s all the rage to binge content these days, but what happens if you’re super busy?

I loved Game of Thrones, it took up the last eight years of my life, and while I want to rewatch, I’ve dedicated myself to actually getting some articles written for our readers. If I want my fix and to get work done, I need to condense my binge. Lucky for me, a Twitter user and content provider named Andy Kelly created this video compilation of Game of Thrones that just takes one second from each episode.

You can watch this quick and take a journey down memory lane, without wasting too much time.

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10 Lessons from Today’s Top Film Editors

Lessons from today’s top editors can be hard to find, but we snagged a helpful video with ten tips from experts in the industry.

Editing is one of the most misunderstood art forms in film and television. Many people think it’s just someone is a dark room assembling footage, but it’s a complicated process that involves strong storytelling skills. There are lots of videos on the internet that can teach you the basics of editing, but today we’re going to focus on one that gets at the theories behind the actual edits.

Inspired by the book Art of the Cut, check the video essay from This Guy Edits which interviews top editors and gleans some excellent lessons for us to share.

10 Lessons from Today’s Top Film Editors

1. Keep your ego in check

The first lessons and maybe one of the most important. Editing isn’t a battle between you and the director; it’s a collaboration. That means do your pass but be ready for notes. This is a push and pull to create quality content.

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How to Make Great Wedding Images in Not so Ideal Conditions

How to Make Great Wedding Images in Not so Ideal Conditions

If you are a wedding photographer, then at some point in your career you will be faced with the challenge of making great images with conditions that are less then ideal. These tips can help you make the best of any situation.

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Empire State Development: 19 Major Network Series

Empire State Development has announced that 19 major network series will film in New York State this year, including four new series. The announcements were made this week at the 2019 network upfronts, the presentations given by major networks to promote new and renewed series that will be part of their fall schedules. As of […]

The post Empire State Development: 19 Major Network Series appeared first on Below the Line.

Google Suspends Huawei’s Android Support After US Blacklist

If you’ve been eyeing Huawei’s latest P30 Pro smartphone and its ISO 409600 low-light capabilities, you should know that there’s major trouble brewing for the brand due to a the US government blacklisting it. Google has reportedly suspended its business with Huawei, including dropping Android support.

Reuters reports that Google has suspended all business with Huawei that involves the transfer of hardware, software, and technical services, though Huawei can continue to access Google products that are publicly available through open source licensing.

Huawei is immediately losing its access to Google’s Android operating system updates, and future Android-powered smartphones by Huawei will not have access to Google apps and services such as the Google Play Store, Gmail, and YouTube.

“Huawei will only be able to use the public version of Android and will not be able to get access to proprietary apps and services from Google,” a source tells Reuters.

But if you already own a Huawei device, you’ll continue to be able to use and download updates for Google apps for now.

Here’s a statement by Huawei in response to Google’s decision:

Huawei has made substantial contributions to the development and growth of Android around the world. As one of Android’s key global partners, we have worked closely with their open-source platform to develop an ecosystem that has benefitted both users and the industry. Huawei will continue to provide security updates and after-sales services to all existing Huawei and Honor smartphone and tablet products, covering those that have been sold and that are still in stock globally. We will continue to build a safe and sustainable software ecosystem, in order to provide the best experience for all users globally.

While Huawei’s Chinese market may see minimal impact from Google’s suspension — users largely use Huawei’s proprietary software and homegrown apps — it could have a major effect on international markets. It remains to be seen whether these actions cripple Huawei’s ability to become a major player in the smartphone photography space that it has been working hard to grow in.

10 Clever Places to Hide Lav Mics on Your Talent

Mic’ing people up with lavs can be super tricky if you don’t know all the good hiding places.

Placing lav mics is a friggin’ art form. Am I right or am I right?

Veteran filmmakers know…if you’re working with lavs, finding a good place to hide the thing without sacrificing audio quality can be kind of challenging, especially when your talent’s clothes aren’t doing you any favors.

But in this video, Darious Britt of D4Darious shows you a bunch of clever places you can hide a lav on your actors, as well as a few tricks to keep your audio nice and clean. Check it out below:

Now that you’ve seen the video and all of the sneaky places you can hide a lav, let’s get down to the nitty-gritty.

Fact is, there are a few things working against you when dealing with lavs.

  • Your lav rubbing up against clothes and making unwanted noise
  • Your lav’s cable being handled and making unwanted noise
  • Your lav not having a good place to be…placed.

Luckily, Britt shares tips on how to deal with all of that stuff.

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