If you are a professional picture editor and you edit in DaVinci Resolve 16, you might want to consider the DaVinci Resolve Editor keyboard.
The job of a film editor can be creative and satisfying, but it can also long and tedious. This is why any editor worth their salt is going to try to speed up their workflow to make their time in the chair more efficient.
One way of doing this is knowing the keyboard shortcuts of your NLE of choice, which is why a lot of editors use dedicated keyboards that have color-coded hotkeys to help them navigate.
We recently got the chance to spend some time editing with the DaVinci Resolve 16 Editor Keyboard and this is what we discovered.
Earlier today, a “snow squall” quickly engulfed the island of Manhattan in dramatic fashion. Fortunately, there are plenty of cameras set up around NYC, ready to capture something like this when it comes along.
A snow squall, for the meteorologically uninitiated, is an “intense burst of snow” that’s typically accompanied by very strong winds. They last between 30 and 60 minutes, and while the description might not seem too menacing, the visuals certainly make up for it. New York City had its first snow squall of the season earlier today, and as this footage from the One World Observatory demonstrates, a snow squall can be a beautiful, dramatic, and terrifying thing to behold as it swallows up your city:
You can see more photos and footage from Mother Nature’s little display of power in Manhattan today by looking up the #snowsquall hashtag on Twitter. If you’re in Manhattan, we hope for your sake that you were indoors; but even more importantly, we hope you had your camera charged and ready to shoot. Looks like #snowsquall 2019 was a pretty incredible photo opportunity.
During one of his recent Aurora and Night Photography workshops, Alaska-based photographer and instructor Frank Stelges had an interesting idea: what if you tried to photograph spinning steel wool from above?
Stelges runs the photography school Aurora Bear, so he spends a lot of nights outside teaching people how to photograph the Northern Lights. Unfortunately, the Northern Lights don’t always cooperate, and so he’s sometimes forced to come up with “fun and creative diversions” to keep his students entertained and learning.
Rewind to a workshop last week:
“We had the McKay Photography Academy as guests for three nights, and since the Aurora wasn’t coming out that evening we thought we’d try something new,” Stelges tells PetaPixel. “My friend Toby Gelston from photorec.tv had the idea to do some steel wool photography so that our guests could play with some manual settings and get some interesting pics.”
So Frank broke out his Nikon D4s and started taking some shots while Toby manned the steel wool:
But it didn’t take long for the idea to take flight… literally.
“After the first round, we took a look at the pics (which looked really cool) and I said that it would probably look awesome from space,” recalls Stelges. “We stared at each other for a second and then both said ‘Drone!’ at the same time. So I got out my DJI Mavic Pro, adjusted some settings and gave it a try…”
Acquiring focus and dialing in the right settings was a bit of a challenge. ISO 6400 on the Mavic Pro was just too noisy, so he wound up reverting to similar settings as he was using on the ground with his DSLR: 8 seconds, f/8, and ISO 800. The drone pretty much took care of the rest.
“I tried the mode with a fixed gimbal but that didn’t work very well,” says Stelges. “I just ended up using the normal mode—the flight stabilization and the gimbal together work so perfectly in the Mavic Pro that you see only a tiny bit of movement in the stars but not in the trails of the glowing steel wool sparks – and that’s an 8-second long exposure!”
As for the results, well, we’ll let you be the judge. But we will say that until we saw these, we were pretty sure Steel Wool had been done to death. Now we’re not so sure:
The results from above are pretty cool, if for no other reason than the fact that they capture a different perspective than we’re used to seeing when it comes to steel wool. Plus, when you’re in the middle of nowhere, in the freezing cold and surrounded by snow, you’re far less likely to do any damage or set something on fire. Win win.
A big thank you to Toby and Frank for sharking this story and images with us. To see more of Stelges’ impressive night photography or find out more about his photography school, give him a follow on Instagram or visit the Aurora Bear website.
Image credits: All photos by Frank Stelges and used with permission.
The National Press Photographers Association (NPPA) has announced its new lawsuit against California’s Assembly Bill 5 (AB5), which forces some independent contractors (freelancers) to become employees of their clients.
The AB5 bill was passed in September but won’t go into effect until next month. Though the law aims to prevent companies from exploiting workers by falsely declaring them as independent contractors, critics say it unfairly restricts people like freelance photojournalists who desire the freedom and copyright benefits associated with being an independent contractor.
In a statement published on Wednesday, the NPPA claims this law ‘discriminates against some visual journalists’ who wish to work as freelancers but are instead forced to become employees ‘whether they desire this working relationship or not.’
The NPPA argues that this legal requirement violates the U.S Constitution because, in part, only certain freelancers are covered by it; others, including graphic artists and marketing photographers, are allowed to retain their independent contractor status.
Photojournalists who also shoot video are forbidden from acting as freelancers under Assembly Bill 5, as well, which the NPPA alleges is ‘a content-based restriction on speech.’ Other issues introduced by AB5 include a limit of 35 assignments or submissions per year per client for still image photojournalists. The organization notes that many other types of freelancers also face similar restrictions, including freelance writers and freelance editors.
The NPPA lays out the negative impact this law will have on freelancers, stating:
NPPA members impacted by the law range from retirees who will be losing extra income to mid-career professionals whose journalism clients are part of their overall business model. All of the impacted members are experienced journalists, trained in ethics and professional standards, who keep their local community informed on matters of public concern. Their voices will be silenced when the impact of AB5 hits their businesses. Some NPPA members report that their income from certain clients is expected to drop by 60-75% next year due to AB5.
In addition to earning concerns, the organization also points out that by forcing photographers to work as employees, these photojournalists will lose the copyrights to the images they capture under their employment, whereas freelancers retain the copyrights unless they choose to surrender them to their clients.
Ultimately, the organization claims that it repeatedly attempted to get the bill modified so that it won’t negatively impact freelance photojournalists, but that California lawmakers have been ‘unsympathetic and unresponsive to our pleas.’ The lawsuit was filed in Los Angeles, California; the full legal complaint can be accessed on the NPPA’s website.
German camera manufacturer Leica has announced a new limited edition M10-P camera that will be almost entirely white and silver, aside from the iconic red dot, of course. The ‘White’ edition will feature white leather trim and white paint on the top- and base-plates, as well as white lettering in the shutter speed and ISO dials.
The camera will come in a kit with a silver chrome Summilux-M 50mm F1.4 ASPH lens, and will have a white leather strap and a white case for the lens. Only 350 white kits will be made, and Leica says each will have a serial number unique to the White edition. The Leica M10-P White kits are available now and retail for £12,750. The US$ price has yet to be revealed.
Leica M10–P ‘White’: the new special edition comes in a set with a Summilux-M 50 mm f/1.4 ASPH. lens
Leica Camera is delighted to announce the Leica M10-P ‘White’, a new colour option of the iconic rangefinder camera. Limited to 350 sets only worldwide, the all-white design takes its cue from the extremely popular Leica M8 ‘White Edition’ released in 2009. The top and bottom plates are finished in white paint to match the camera’s white leather trim and the silver control elements feature white engravings, complementing the design concept of the Leica M10-P ‘White’.
The technical specifications of both camera and lens are identical to those of the standard models: particularly discreet and concentrating on the most essential camera functions only, the Leica M10-P embodies the essence of the M-Philosophy. Featuring the quietest shutter release of all M-Cameras ever built, the almost inaudible sound makes it the ideal tool for discreetly capturing authentic photographs in any situation. With its handling concept, the Leica M10-P fulfils everything that discerning photographers expect from a Leica M and reflects the philosophy of all past and present Leica M-Cameras.
The Leica M10-P ‘White’ comes as a set with the silver chrome Summilux-M 50 mm f/1.4 ASPH. lens, which complements the Leica M10-P by delivering consistent exceptional performance at all apertures and distance settings. Whether used for selective sharpness at short distances, high contrast available light photography or for landscapes with enormous depth of focus, the Summilux-M 50 mm f/1.4 ASPH. lens delivers outstanding results in all situations and superbly fulfils its tasks as a true universal lens.
The set is completed with a white leather carrying strap with Leica embossing and a white leather case for the lens. All Leica M10–P ‘White’ cameras have a unique serial number.
The Leica M10-P ‘White’ is available for sale from today.
Steven Spielberg is a master of cinema, and for his 73rd birthday, we meditate on what that means to the next generations.
I like to meditate every day.
At first, most of my attempts wound up being naps. But now, I think I have a pretty good handle.
I find meditation to be the most important skill I’ve learned since moving to Hollywood. Being here is stressful in itself. You have to worry about your career, networking, friendships, sales, specs, and writing new ideas. And that’s all right when you wake up.
The rest of the time is spent making sure you make enough money to live in a city where the cost of just being a resident increases so rapidly that it’s hard to get a grip on anything stable.
So why did I come to Hollywood and why do I meditate?
A new documentary world premiere — the latest from Jeff Orlowski, dealing with the social controls and neuroprogramming aspects of technology platforms and social networks — and two restored works from the Sundance Collection were announced today. Orlowski’s film, The Social Dilemma, will screen next month in Park City as will two distinguished works that are favorites here at the magazine: Lisa Cholodenko’s High Art and Zana Briski and Ross Kaufman’s Born into Brothels. From the press release: Archival screenings are made possible by the Sundance Institute Collection at UCLA, and give audiences the opportunity to discover and rediscover the […]
The superhero genre was in film’s past, present, and future… until Watchmen blew it the fuck up.
Watchmen was a groundbreaking comic series that took on lighter superhero fair and made us think about the deep human flaws that would reside within the characters at its center.
Now, several decades later, the Watchmen television series is here to finish what the comic started.
This may sound like a bold claim, so we’ll walk it back just a tiny bit. This isn’t just about the ending of something… because, after all, “Nothing ever ends,” but rather, the emergence of something very new in a space that has been fairly consistent since the very first cross-cut sequence on celluloid.
Watchmen connects a lot of dots. And for us to fully take in all that it both destroys and creates, we have to jump through time like Dr. Manhattan. In fact, we’ll have to do it a few times.
A couple of months ago, Pelican launched the “Portraits of Protection” photo competition, a monthly contest that encourages photographers to “immortalize heroes who’ve stepped forward in the face of danger.” And the very first winner of that contest was just announced.
Freelance photojournalist Christian Monterrosa claimed the honor of being the very first photographer to be recognized by this contest, thanks to a series of images he captured while documenting the Saddleridge Fire in Sylmar, CA.
“I’m a photojournalist and I was covering the Saddleridge Fire in Sylmar, CA. I noticed a pocket of homes in the path of the fire and headed for the neighborhood to document any evacuation efforts,” Monterrosa tells PetaPixel. “When I arrived, Zach Hanson and his engine crew were already hard at work battling the flames that quickly surrounded us and the neighborhood and I spent the better part of an hour documenting the intense firefight that was taking place.”
Here are the images he captured, which show Hanson and his crew battling the wildfire during a grueling 36-hour shift:
For those who are wondering, the photos were captured with a Nikon D850 and NIKKOR 24-70mm f/2.8 lens, but camera settings and lensing are hardly the most challenging parts of this particular job.
“Documenting wildfire comes with countless challenges. Flying debris, extreme heat, a dark environment with the lighting situation constantly changing makes a tough environment to make pictures,” explains Monterrosa. “When shooting, I wear the same fire resistant gear that wildland firefighters wear including a helmet, goggles, gloves, and fire resistant boots to make sure I am protected from flying embers and debris.”
Fortunately, in this case, all of the preparation and risk has earned him a little bit of recognition and $500 worth of Pelican gear.
To see more of Monterrosa’s photography, be sure to give him a follow on Instagram, where you can also find firefighter Zach Hanson whose crew are the subject of these images. To learn more about the Portraits of Protection contest, visit the Pelican site or keep an eye on the brand’s Instagram account.
Image credits: Photos by Christian Monterrosa and used with permission.