Get 40% Off of Adobe Creative Cloud for a Limited Time

Black Friday is almost upon us, which means now might be the best time to sign up for Adobe Creative Cloud.

Even though Black Friday is still over a week away, Adobe is getting a jump on their special November sales event.

From now until November 29th, you can get 40% off an “All Apps” Creative Cloud subscription that includes everything from Premiere Pro to Photoshop.

The 1-year All Apps Creative Cloud subscription regularly retails for $52.99 if you pay for it monthly or $599.88 if you prepay the entire year.

With this deal, you’re looking at $29.99/mo. and $359.88 prepay.

And that gets you over 20 different Adobe CC programs. Here’s a full list:

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David Fincher and Netflix Are Making a ‘Chinatown’ Prequel Series

Original Chinatown screenwriter Robert Towne will help write the script, which takes place before the events of Roman Polanski’s Oscar-winning classic.

David Fincher is arguably the biggest Chinatown fan out there — just listen to him rave about the film on its 40th anniversary Blu-ray from 2016. Now, Fincher and screenwriter Robert Towne are teaming up for a prequel series based on Paramount Pictures’ film noir about corruption, adultery, and incest in 1930s Los Angeles.

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How to Write a Movie Script: The Basics of This Storytelling Craft

How to Write a Movie Script: The Basics of This Storytelling Craft

Every Screenwriter asks the question of how to write a movie script at some point in their careers. Because the truth is that there is no one tried-and-true formula that will work every time for every Writer. Yes, there is a specific format for screenplays, as we will discuss. And yes, there’s even a three-act structure that most script experts recommend following when writing a screenplay. But how to write a movie script also involves individual voice, imagination, and innovation, which is why even the most practiced Screenwriters may question themselves from time to time.

The good news is that by learning the basics of this storytelling craft, such as format and story structure, an aspiring Screenwriter can immediately put themselves in a better position to get their work noticed and career ignited. And that’s exactly what we will explain how to do!

In our discussion of how to write a movie script, we’ll cover:

  • Knowing the difference between a movie script and other storytelling mediums
  • Movie script formatting
  • Three act structure
  • Creating conflict

Movie Script vs. Other Storytelling Mediums

But first, what exactly is a movie script?[1] Plenty of people have heard the term thrown around in conversation, but why do screenplays exist? Especially when so many films are made from existing intellectual property such as graphic novels, books, and even newspaper articles, why aren’t those storytelling mediums used for making a movie?

Well, let’s take a look at one of the most successful adaptations in cinema—that of the Harry Potter books. As a whole, the series clocks in just under 20 hours of viewing time. Consider then just how long the films would be if the source material, which between all the books is approximately 4,000 pages, had been used instead of a script that hovers around 120 pages per movie. How to write a movie script is critical, as in many cases the source material needs to be condensed to fit the length of a film.[2] Alternately, a 500-word newspaper article might make a great jumping-off point for a film, but it’s hardly enough material to sustain a two-hour movie. However, that’s when the talent of a Screenwriter can be utilized by fleshing out that article and making it an interesting story for the screen.

But even in the absence of source material, a screenplay is fundamental to the filmmaking process. Just as Architects require blueprints for the construction of a building, so too do filmmakers need scripts to create a film. As we’re about to dive into, a movie script entails very specific formatting that can not only describe for a reader what is happening in the story but also reveal to a Director, Cinematographer or other entertainment professional the key elements necessary for it to be made into a movie.

At its core, a three-act structure provides the foundation for a writer to create a story filled with conflict that keeps the reader or viewer intrigued, as well as giving the characters within the story the chance to make decisions or be on the receiving end of others’ actions that inform their character growth for better or for worse.

Movie Script Formatting & Its Importance

A movie script is unlike any other type of storytelling format, as it is meant to be both understood via the written word and ultimately translated into the visual and audio medium of film. For those reasons, the way in which a screenplay is written is extremely specific with clearly defined elements, such as scene headings, action lines, and dialogue.[3] These are just a few of the most common script elements, but make no mistake, anyone intent on becoming a Screenwriter should take the time and energy to learn thoroughly what each element is and how it should be used in a screenplay. For now, it’s important to simply take note that these elements constitute the foundation of how to write a movie script.

A brief explanation of why these elements are necessary breaks down to this: Each succinctly tells the reader what is happening in a particular scene, and for the filmmakers who intend to turn the screenplay into a movie, what they need to assemble to make it happen. For instance, an opening scene heading can let a reader or filmmaker know that they’re at the Corleone compound as opposed to anywhere else fictionalized or in real life. The following action line might then indicate that there’s a conversation taking place between Vito Corleone and another man. Finally, the initial line of dialogue, “I believe in America,” sets up in a significant way one of the major themes of the story and film.

For a Screenwriter, having depth of understanding as it regards screenplay formatting serves two purposes. First, as mentioned above, correct formatting allows anyone reading or working from the screenplay to understand the story and how it can transition to the screen.[4] Says Screenwriter Sara Strange, “The Writer’s main goal is to create a fluid reading experience. When you veer too far from proper/expected format, you create roadblocks/speed bumps for the reader that distract them from what’s truly important: the story.”

Second, though this may be considered a less tangible benefit, it demonstrates to others that the Screenwriter is of a professional caliber and knows how to write for the medium. For example, if a Manager, Agent, Producer or Executive comes across a script full of confusing scene headings, wordy action lines or dialogue attributed to the wrong character—it happens!—it can be the difference between wanting to move forward with the Writer or script and passing on it no matter how great the story. In short, Writers should understand the importance of a good first impression, and solid script formatting can go a long way towards it.

As Screenwriter Courtney Suttle emphasizes, “Every Studio Exec, Agent, Literary Manager, Script Reader, Producer, Director, etc. has hundreds of scripts sitting on their desk at any given time and they are looking for any excuse to make that pile smaller. Improper, sloppy formatting provides an immediate excuse to toss the script directly into the pass pile. Don’t be that Writer.”

While it can initially feel overwhelming to the Writer just starting out, the craft of screenplay writing can be so much more than a head-scratching proposition. Instead, it can be a great opportunity to connect with audiences around the globe and make them laugh, cry, shriek or even reconsider their deep-seated beliefs through a captivating story.

The Three Acts of Movie Script Story Structure

Beyond the more technical aspects of how to write a movie script, Writers must also always be striving towards creating the best story possible—and there are many ways to do it. We’ve already mentioned theme. There’s also character arc. Conflict. Emotional weight. Plot progression. All these elements and more can support an interesting and dynamic story, but all of them typically reveal themselves within the three-act structure.

Three-act structure. Again, it’s a term used quite often in the entertainment world, but why is it so important for a screenplay?[5] On how to approach the three-act structure, Suttle notes, “Keep it simple, as every story has a beginning, a middle and an end. That’s your three-act formula. My job as a Writer is to provide the reader with the motivation to keep turning the page no matter which act they’re in.” But how exactly to keep the reader turning those pages?

Let’s use The Godfather again as an example. How interesting would it be if the story was just that a young man takes over the family business from his father? We go from point A to point B with no conflict, thematic value or character development. But imagine instead that the story was the following: A young man wanting to escape the violent lifestyle that has allowed his father to become a wealthy and influential mafia figure ends up taking it over from him after the father is on the receiving end of an attempted hit and his older brother the victim of a successful one. Now that’s a story! Not to mention the assassination of his first wife and the execution-style hits on his many rivals that set him up as the unopposed mafia head.

At its core, a three-act structure provides the foundation for a writer to create a story filled with conflict that keeps the reader or viewer intrigued, as well as giving the characters within the story the chance to make decisions or be on the receiving end of others’ actions that inform their character growth for better or for worse. Or as Strange succinctly explains, “I’m old school and like the general 1) put your character up a tree; 2) throw rocks at them; 3) get them out of the tree structure.”

As with script formatting, it’s essential that aspiring Screenwriters continue to nurture their expertise by learning all they can about three-act structure, including the rare instances in which they may break the rules! But the reason why three-act structure has such a stronghold in screenwriting is that it works. The first act provides the inciting incident which gives a reason as to why we’re following this story now and continues with the first major plot point. Moving into the second, the conflict should build, though the protagonist may experience the occasional “victory” along the way to keep the plot moving in a surprising and interesting way. With the second major plot point, we enter the third act, which is where the climax of the story will take place, as well as the resolution.

Scripts are often referred to as blueprints because the similarities between them are so strong. Within a blueprint, you might have designations for plumbing, electricity, insulation and more alongside the actual building plans. In the same way, a screenplay encompasses many elements, correct script formatting and three-act structure among them.

While it can initially feel overwhelming to the Writer just starting out, the craft of screenplay writing can be so much more than a head-scratching proposition. Instead, it can be a great opportunity to connect with audiences around the globe and make them laugh, cry, shriek or even reconsider their deep-seated beliefs through a captivating story. With passion, patience, and practice, the opportunity exists for all Writers to have the chance to enjoy this experience and further their craft of how to write a movie script.

References

    1. “What Is a Screenplay?” Screenwriting.io. Retrieved 15 November 2019.
    2. Haber, Joel (22 January 2018). “Script Classics: Adapting to the Adaptation Process.” Writer’s Digest. Retrieved 15 November 2019.
    3. Renee, V (24 September 2017). “Learn Script Formatting (& Why Screenplay Format Matters).” No Film School. Retrieved 15 November 2019.
    4. Miyamoto, Ken (23 July 2018). “Does Correct Screenplay Format REALLY Matter?” Screencraft. Retrieved 15 November 2019.
    5. Moura, Gabe (1 June 2014). “The Three-Act Structure.” The Elements of Cinema. Retrieved 15 November 2019.

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The Wandering DP Podcast: Episode #202: Shooting Anamorphic on the Alexa Mini LF

The age of the Mini LF is upon us and in this podcast we take our first look at the Mini LF in action with anamorphics.

It is a bit of a workaround at the moment to get everything to play nicely together on set but I was really pleased with the results even if I wasn’t the biggest fan of the lenses.

Enjoy the behind the scenes look at a recent commercial spot.

Patreon Podcast #136: The Commercial World

This week on Patreon we mix it up and take a look at a commercial shot by Khalid Mohtaseb that i really enjoyed the look of.

Commercials are a great medium for exploring what is new and fresh in the cinematography world so I thought we would break up the feature looks and dive in to something slightly more contemporary.

You can find this week’s Patreon content by clicking the link below:

The Wandering DP Patreon Group

If you are a fan of the podcast and want more video content the patreon group is the place to be.  Each and every week I release an exclusive podcast, video, or live stream just for the Patreon members.

Patreon members also get access to the Private Facebook community for the show.  The podcast couldn’t exist without the Patreon support and I do my best to take care of the supporters.

Alexa Mini LF & Anamorphics – The Spot

This spot was the brand piece that we shot off the back of two days of retail ads.  We actually shot the retail section on the Cooke Speed Panchros (which we will look at in another breakdown podcast) and the brand piece we then shot in anamorphic.

Camera Gear:

Check out the gear I use on all of my commercial shoots by clicking the link below:

Wandering DP Commercial Cinematography Gear

We used the Arri Alexa Mini LF and coupled that camera with the P+S Evolution Kowas.

The Location – The Feature House

The main location for this montage ad was actually the hero house we shot in for 5 days earlier in the year for the feature film I shot.  

Alexa Mini LF – Shot by Shot

Shot 1 – Outside Look

The Shot

This was our first set up of the day and the shot is our hero talent just missing his partner as he returns from his morning run.

The Lighting

The sun was just out of shot frame left and we used the Sun Wrap approach to line up this shot.  We wrapped the sunlight around from the same side as the backlight using a 4×4 bounce.

Because we were moving so quickly we didn’t have time to take the edge of the heat from the sun so it ended up being quite a harsh backlight.

Add a 4×4 floppy camera right and that was it.

The Result

Set Up #2 – The Wide Stairs

The Shot

The hero shot of the couple reunited in the hallway.

The Lighting

By the time we entered the house the sun was above the window line which meant the light coming through was sky ambient as opposed to direct sunlight.

We used the natural light of the hallway in combination with haze and neg fill all around and behind camera to help add some contrast.

The Result

Set Up #3 – The Coverage

The Shot

Coverage of our hero moment between the two lead talent.

The Lighting

We walked in a 4×4 floppy frame right for each talent and then repositioned the action to get the best light fall off on the female’s face.  It wasn’t quite enough level and we were missing an eye light so we used an Arri S-60 Skypanel to help wrap the light to the dark side cheek and to add a little eye light.

The Result

Set Up #4 – His Coverage

The Shots

The reverse.

The Lighting

Same as above but we repositioned everything for his new angle.  We had to lower the S-60 even more than before to deal with the deepness of the eyes.

The Result

Set Up #5 – The Hallway

The Shots

This series of hallway shots required various different looks as we follow the talent down the hallway and out the door.

The Lighting

The lighting here had to be extremely flexible as each outfit change required a lighting change in very little turn around time.  We used the ambient day and controlled it through a T bar of neg fill behind the camera.

Each room had a sky panel s-60 and one room had an M18.  As lighting changes were required we would change color and intensity on the fly to give us a variety of different looks.

The Result

Set Up #6 – The Kitchen

The Shots

A montage of quick kitchen moments was required to sell the business of their lives as well as the passing of time.

The Lighting

We used a combination of an Arri M18 coupled with a Joker 800 for the direct light.  We also added a bunch of haze to this sequence to help lift the blacks and control the harshness of the lamps outside the window.

The Result

Set Ups #7 & #8 – The Bits

The Shots

More of the montage.

The Lighting

Here we used the same lamps as before but swapped them to come from the other side of the window.  Again just for variation and a different look.

The Result

Set Up #9 – Cup of Coffee

The Shots

Our hero talent sips his daily coffee.

The Lighting

Same as before for the baclground outside but now we added a Skypanel through the Octodome as the key.  Frame left we used a T bar Neg to help model the contrast.

The Result

Set Up#10 -The Stir

The Shot

Same as before but in tight on the process.

The Lighting

Same as above.

The Result

Shot #11 – In the Car

The Shot

We shot a whole series in the car in a variety of outfits and talent combinations.

The Lighting

We chose to shoot these in the afternoon when the sun would be low enough to get some light inside the car but not low enough to actually enter the frame.  This kept the contrast manageable without needed lots of lighting or rigging.

We picked a path that was backlight and drove in a loop to get all the coverage we needed.  No light or bounce just some neg behind and to the side of camera.

The Result

Set Up #12 – The Bedroom

The Shots

In the bedroom we needed a number of different set ups with the couple.  The challenge was the bedroom was on the second floor and we had to shoot during the day and the room was floor to ceiling glass on one side.

The Lighting

We blacked out all the windows, added a few titan tubes above the bed from frame left to act as the practical carry, put the pracs in shot on dimmers and set the level very low.  

Then on the hero talents computer I placed and Aputure MX to help dial in the coolness of the monitor we needed to contrast the warmth of the practicals.

Frame left we used the door to leak in just a tiny bit of ambient daylight from the hallway.

The Result

Set Up #13 – Sawing Logs

The Shot

A single of our hero lady in bed asleep.

The Lighting

We kept everything in place from the previous shot but added some Titan tubes on the shadow side of the camera to add just a hint of level to pull her out of the darkness.

In the BG you can see a leak of daylight coming from our black out job.  Would have been great to get it patched up but we ran out of time.

The Result

Set Up #14 – Sleep In

The Shot

The morning look inside the bedroom.

The Lighting

This was our last look inside the bedroom and as the G&E team worked to breakdown everything and move to the next set up we snuck in this morning look.

WE kept the neg in place from the previous shot and opened up the lens and exposed for the blinds in the BG.  This shot is all natural daylight coming in from outside the sheers.

The Result

Set Up #15 – Morning Run

The Shot

In this series we see the female talent running on the treadmill.  Lots of fast cuts and points of coverage in what was a fairly bland white room.

The Lighting

We used an Arri M40 from outside through a series of frames for ambient room levels and for her soft key.  Then we used the Joker 800 to add the sun slash on the wall.  

In the background for the window we added a 4×4 frame outside to block off the view and then we finished it off with quite a bit of haze in the room.

The Result

Set Up #16 – TV Time

The Shot

This is the start of a series of shots in front of the TV late at night.

The Lighting

We built up the ambient outside with a combination of the Joker 800 and the Arri M18 with the CRLS Reflectors.

Inside we had the practicals on dimmers coupled with two skypanels on the ground to key the middle ground and the foreground.

Don’t forget the haze.

The Result

Set Up #17 – Her Turn

The Shot

Close up of the female talent watching tv with the male in the BG.

The Lighting

Same as before but we shot this at dusk so there is a bit more level outside.  

The Result

Set Up #18 – Stir Fry

The Shot

Late night dinner prep scene.

The Lighting

We used a series of Titan tubes for the key from frame right then added neg frame eft.  In the background on the windows was a net material to take down the daylight we were actually shooting this scene in.  

For the light above the stove we used a Astera Helios.

Add haze to taste.

The Result

Set Up #19 – Warm Glow

The Shot

Our talent is ironing his shirt as he watches the tv.

The Lighting

Here we used the same set up as the other night scenes in the tv room.

We were able to add a bit more control and contrast to the scene by walking all the fixtures closer.  That control allowed us to have a bit more shape here than in the previous wide shot.

The Result

Set Up #20 – Solo Dinner

The Shot

Our final shot for the day.  Our talent eats a meal at the dinner table by herself.

The Lighting

By this point everyone was packing up the gear from the previous scene so we used the bare minimum amount of fixtures to do the job and still make the day.

We had a Titan tube outside for level in the BG then inside we had a Titan tube rig above the kitchen counter inside as well.

We used an Arri S-60 from both frame right and left to act as key and edge light.  Then of course haze to round it out.

The Result

The post The Wandering DP Podcast: Episode #202: Shooting Anamorphic on the Alexa Mini LF appeared first on Cinematography Podcast & Tutorials.

Tota LED Production Kit: a lighting kit for ENG and independent productions

ota LED Production Kit: an always ready location lighting kit

Lowel has launched the Tota LED Production Kit, a versatile 3-light setup travel kit daylight balanced (5600 K) and with a CRI of 96.3, the ideal solution for ENG and independent productions.

The Tota LED Production Kit, a travel kit which combines three Tota LED lighting fixtures with combination V-Mount / AC power supplies, three stands, a silver reflective Totabrella, and a white silk Tota-brella in a custom soft case for an easy traveling, quick deploying location lighting kit that is ready when you are.

The new kit provides, says the company, “a powerful daylight source that offers plenty of illumination for use indoors and outdoors” with a high CRI of 96.3. The ability to power the lights off of AC power or V-Mount batteries makes the Tota LED among the most flexible location lights available. Their low power draw means hours of light off of common professional batteries. Setup in minutes and be ready to shoot right away.

Daylight balanced LEDs

The Lowel Tota LED is ideal for use outdoors for stand ups, for increasing the ambient illumination of a space, or combining into a 3-light setup for interviews. The Tota-brellas offer even more options for quickly modifying the Tota LED’s clean, clear light by reflecting it to create smooth shadows or as a direct diffuser for professional results.

The Tota LED floodlight is designed with a rugged all-metal construction to withstand the rigors of daily location shooting. Its daylight balanced LEDs (5600K) output the equivalent of a 750w tungsten fixture with flicker-free dimming from 100-0%. The custom case securely stores the fixtures and all accessories with internal dividers for transportation or shipping, including room to spare for accessories, an additional zippered compartment, and a padded shoulder strap.

The Lowel Tota LED Production Kit offers ENG and independent productions a complete lighting package that is, according to Lowel, “dependable, travels well, deploys quickly, and illuminates beautifully.”

The post Tota LED Production Kit: a lighting kit for ENG and independent productions appeared first on ProVideo Coalition.

Steadicam AIR Spreader: new support for the world’s fastest monopod

Steadicam AIR Spreader: new support for the world’s fastest monopod

Increase stability and more comfortable operation are key features of the new Steadicam AIR Spreader, the new base for the world’s fastest monopod.

Compatible with the Steadicam AIR 15 or AIR 25 gas-powered monopods, the new Steadicam AIR Spreader is a a foldable, screw-in, 3-leg base option that increases the overall stability of the monopod while offering the potential for more comfortable operation depending on the application. The Steadicam AIR maintains, says Steadicam, its world class functionality with rapid deployment and gas-powered lift assistance with either base option.

The AIR Spreader,  now available as an accessory to the Steadicam AIR 15 and AIR 25 monopods, can be installed in under a minute by simply unscrewing the post that connects the standard rubber foot at the bottom of the monopod and screwing the AIR Spreader into its place. Once attached the AIR Spreader’s legs can fold up to be packed in the standard Steadicam AIR carrying case without removal. An adjustable friction ball head at the top of the AIR Spreader allows the angle of the monopod to be adjusted dynamically and locked into place for creative applications.

The Tiffen Company

The Steadicam AIR monopods, have proven popular, says the company, “with photographers, videographers, independent filmmakers, ENG productions, wedding and event production, and house of worship applications. The new Steadicam AIR Spreader further increases the usefulness and flexibility of the world’s fastest monopod to make sure you never miss the shot.“

Steadicam is a division of The Tiffen Company. Tiffen is a leading manufacturer of imaging accessories, including: Tiffen optical photographic filters and lens accessories; Steadicam camera stabilizing systems; Lowel location lighting equipment; Domke camera bags and Zing camera covers; Davis & Sanford tripods and support systems; and Stroboframe flash brackets.

The post Steadicam AIR Spreader: new support for the world’s fastest monopod appeared first on ProVideo Coalition.

Cruz Handle for the ‘Battery Camera Operator’

Looking at the Cruz Handle you may be thinking, ‘Why would you put a handle on the back of a camera behind the battery?‘ Well, I’m glad you asked. Some camera operators like to put one hand on the back of their battery and keep one on the camera lens to do pans. I’ve done … Continued

The post Cruz Handle for the ‘Battery Camera Operator’ appeared first on Newsshooter.

Reducing The Load With Proxies

I’ve gone through several posts on various ways to use proxies and how to make sure that workflow is successful. But, I haven’t talked about using proxies side-by-side with your original footage on an edit workstation.

You might ask, “Why use proxies if the real files are available?” As camera resolution has increased, the load on edit computers has increased as well. Throw in raw recording—and the need to debayer each frame on the fly—and you’re asking a lot of your hardware. (If “debayer” is a new term for you, keep reading my posts. It will be covered in a future one.)

Instead of using the original footage, proxies—with their reduced resolution and, if representing raw files, the elimination of debayering—reduce the load on the system. But you’re not locked in with viewing only proxies. The workflow I’m talking about still keeps the original footage available at a moment’s notice.

Note: I’ll be talking about Adobe Premiere’s method, but Final Cut Pro X and Blackmagic Design’s DaVinci Resolve also have similar methods they refer to as using “optimized media.”

The concept is to “attach” proxies to the original camera footage in Premiere. Then, via a button under the source or record window, you can toggle between playing back the proxies or the original footage.

Switching to proxy playback frequently lessens the scourge of dropped frames. But viewing the camera original is just a button push away—no need to disconnect the proxy. And, fortunately, when you need to render or export your sequence, Premier uses the camera original file.

If done right, proxies are a great way to work when your computer can’t keep up. How do you do it right? That’s for next time.

The post Reducing The Load With Proxies appeared first on HD Video Pro.

M Soft RayBrid KeyMaker – Green Screen without a Green Screen

At Interbee 2019 in Japan, M Soft was showcasing its RayBrid KeyMaker system which allows you to key subjects without the need for a green or blue screen. This is not new technology, and there are already quite a few companies that already exist with similar systems. RayBrid KeyMaker is a customized version of RayBrid … Continued

The post M Soft RayBrid KeyMaker – Green Screen without a Green Screen appeared first on Newsshooter.

6: B&H Photo Video Slammed With Tax Evasion Lawsuit, iZotope Introduces Dialogue Match, The New MacBookPro 16″ & More!

PVC podcast b&h lawsuit, izotope new product, MacBook Pro

 

This week Scott Simmons, Damian Allen, Gary Adcock and Paul McKenna talk about the biggest industry news of the week. Hear their breakdown of the B&H lawsuit, new feature from iZotope, the 16″ MacBook Pro and more! You can listen to the full podcast below:

More in-depth articles on the stories talked about in this podcast can be found below:

-“B&H Dodged Millions in Tax, New York Attorney General Alleges” from The Verge

iZotope introduces dialogue match 

iZotope dialogue match article by Woody Woodhall

Gary Adcock gets his hands on the new Apple MacBook Pro 16″

Lumberjack Builder review by Scott Simmons

The PVC Podcast is available on AnchorSpotify, Google Podcasts, and more. Subscribe so you don’t miss future episodes! Have a question/ comment? Shoot us a message on Instagram (@provideocoalition) or send us an email at: social@provideocoalition.com.

The post 6: B&H Photo Video Slammed With Tax Evasion Lawsuit, iZotope Introduces Dialogue Match, The New MacBookPro 16″ & More! appeared first on ProVideo Coalition.

Naomi Campbell’s Recent Cover Is Shockingly Her First Ever Mainstream Fashion Shoot With Black Photographer

Naomi Campbell's Recent Cover Is Shockingly Her First Ever Mainstream Fashion Shoot With Black Photographer

Thirty three and a half years as one of the most successful models on the planet and Naomi Campbell has only just completed a mainstream fashion shoot with a black photographer for the first time.

[ Read More ]

Benro releases S Pro Series Fluid Heads

Benro has announced three new fluid heads in the S8 Pro, S6 Pro & S4 Pro, replacing the original S8, S6 & S4 heads. What’s new? The new line of S Pro fluid heads takes the existing models and updates them with a new modern design. Looking at the specifications, the payloads for each model … Continued

The post Benro releases S Pro Series Fluid Heads appeared first on Newsshooter.

Photographing an Entire Wedding at ISO 5000 After Dark

In this video, wedding photographer Taylor Jackson takes you behind the scenes on one of the most stressful and challenging wedding photography scenarios you’re likely to run into: shooting an entire wedding after dark, using ambient light.

There was a time when shooting a wedding at ISO 5000 would have been totally impossible, producing a noisy mess. But camera technology has come a long way, and pairing his Nikon D850 with an 85mm f/1.4 lens, he was able to get enough light to keep his shutter speed at 1/100th for the majority of the shots he needed to take.

One point he reiterates several times throughout the video is that he set expectations with the couple ahead of time. They understood the kind of coverage they were going to get from a single photographer under these kinds of challenging lighting situations, which is why he was comfortable shooting this wedding in the first place. There have been times, says Jackson, when he’s simply said no to potential clients because he can’t afford to risk producing sub-par work and ruining his reputation.

All things considered—given the absurdly low light levels in the ceremony and the flickering lights in the reception area—he was able to produce some solid documentary style images, which is exactly what the couple had asked for.

It’s worth noting that Jackson did have off camera flash at-the-ready. He chose not to use it during the ceremony to preserve the guest experience, but he was always ready to bring in artificial light if absolutely necessary. The name of the game here was to always have a back-up plan so that he doesn’t miss or mess up any of the critical moments.

Keep in mind that Jackson is a successful wedding photographer with over a decade of experience to his name, and even he says no to the vast majority of shoots like this one. That said, if you ever find yourself in this kind of shooting scenario, the BTS video above provides a good how-to.

Check out the full video up top to see how it’s done, and then visit his channel to see lots more great wedding photography tips, tutorials and behind-the-scenes content.

(via Fstoppers)

Tips for Better Time Management and Decision-Making in Landscape Photography

Tips for Better Time Management and Decision-Making in Landscape Photography

Landscape photography is a strange genre when it comes to time management, and it can lead to some difficult decisions when it comes to committing to a location or moving on to somewhere else. This great video discusses some helpful tips for improving your time management and decision-making in landscape photography.

[ Read More ]

This Guy Hacked Together a DIY Cable Release for His Point-and-Shoot

There are any number of ways to trigger a digital camera remotely: from IR remotes to smartphone apps. But if you’re a bit more old fashioned, then Instructables user Steloherd has hacked together something you might like even better.

Not satisfied with the USB cable release available for his Ricoh GR II, and still one of the few folks holding out against our smartphone overlords (bravo), Steloherd created a DIY mechanical shutter release for his camera that attaches via the hot shoe.

You can find full step-by-step instructions for recreating this contraption over on Instructables, but it would be fairly easy to “reverse engineer” the attachment, even if all you had were photos of the final product.

All you need is a 1/4″-20 screw, an accessory ‘foot’ for your hot shoe, an aluminium arm, a steel spring plate, and any mechanical remote release. For tools, he used a hacksaw, file, drill & bits, pliers, and sandpaper, as well as a male and female M3 thread cutter.

Admittedly, there was some modification and metal work to be done here, so this isn’t a weekend project for the novice shooter. But if you’re up to it, you’ll end up with a mechanical cable release for your digital camera, even if it doesn’t have a threaded shutter button:

If you want to try and replicate this project at home, head over to the Instructables page where you’ll find detailed step-by-step instructions that will guide you through the whole process. And if you’re a bit daunted by the scope here, don’t worry; Steloherd was kind enough to offer a few easier “alternative” instructions and materials at the bottom of that page.

(via Hackaday)


Image credits: All images by Steloherd via Instructables, CC BY-NC-SA 4.0

Shooting an Entire Wedding After Dark

Shooting an Entire Wedding After Dark

Wedding photography is a difficult enough genre without any extra challenges thrown in the mix, but can you imagine having to shoot a wedding after dark with no flash to help? This interesting video follows a photographer as he tackles that exact challenge and contains some helpful tips in case you ever find yourself in the same situation.

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Wanted: PhotoCineRent Paris Lens Technician

Lens Technician position available at PhotoCineRent, Paris, FRANCE.
Responsible for service and maintenance of professional digital motion picture lenses and accessories.
Technician’s role: Maintain and repair cinema lenses. Prepare lenses for customers during prep. Maintain and repair spherical and anamorphic prime and zoom lenses from various manufacturers: Angénieux, Cooke, ZEISS, Leica, Leitz, Fujinon, Canon and others. Lens prep and calibration during camera tests. And more…. read more…

‘Diveroid’ is an Underwater Housing and Dive Computer for Smartphone Photographers

If you’re an underwater photography enthusiast—or simply a diver who would like to take more photos—there’s a new product you should probably check out. It’s called ‘Diveroid,’ and it’s an all-in-one housing, dive computer and logbook for underwater smartphone photographers.

Launched earlier today on Kickstarter, Diveroid reached its funding goal in about 60 seconds before blowing far past it. As of this writing, the creators of Diveroid have raised over $56,000 on a goal of just $10,000 proving, at least, that their idea is extremely popular among diving enthusiasts.

And looking at the Diveroid, you can see why.

While the gadget isn’t for serious underwater photographers, photo enthusiasts who enjoy diving (and visa versa) can use Diveroid as an all-in-one solution. By combining a universal smartphone housing with a detachable dive computer and a companion smartphone app, the Diveroid manages to do three things at once: it’s an underwater camera, an easy-to-read dive computer, and automatic logbook.

Here’s a quick intro from Kickstarter:

As you can see, the universal housing is compatible with Samsung, Apple, Oppo, Xiaomi, and others (108MP underwater photos anyone?), but that’s only one third of the equation. The Diveroid works by combining that housing with a detachable dive computer that communicates with an iOS and Android smartphone app.

All three of those things together give you a camera with your dive computer data overlaid on the screen, safety alerts built in, and all of your controls accessible using one of three physical buttons on the right hand side of the housing.

That way you can take pictures, activate live color-correction, or change your angle of view using only the hand that’s holding the housing:

And once you’re done, the Diveroid app puts together a logbook entry that syncs all of your photos with your dive information, and allows for easy tracking and sharing after the fact:

To learn more about Diveroid, check out the Kickstarter campaign here. As of this writing, you can still reserve a Diveroid for the “Ultra Early Bird” price of $250—that gets you a Diveroid housing, spare O-ring, O-ring grease, an anti-fog sheet, reusable packaging, and (of course) access to the free app. Estimated shipping is February 2020.

As with any Kickstarter campaign keep in mind that this is not a pre-order, so you’re taking on some level of risk by pledging your support. That said, with nearly $60,000 in the bank on a $10,000 goal, the founders should not be short of funds to make this product happen.