The glut of entertainment is reaching new highs. But how many TV shows can we sustain as a society before it crushes us?
To find the straw that broke the camel’s back, you had to really load that poor animal up. Well, ladies and gentlemen, we know society has now survived 532 shows in a single year, a 7% increase from the year before, and a helluva list of things to watch across networks, streamers, cable, and digital.
But it does kind of make you wonder…how’s your back feeling?
532 shows…but are any of them good?
We don’t have a metric for that. We do know that critics get stretched thin trying to see EVERYTHING and the rest of us still have trouble picking a show to binge every Friday night.
But with more streaming networks coming to the forefront and lots of timeslots needing to be filled traditionally, we’re going to need more.
In one final bit of Canon news out of CES 2020, the camera maker unveiled something for photographers who will be capturing the action at the Tokyo 2020 Olympics: The CR-S700R Robotic Camera System.
Built to be used with either the Canon 1D X Mark II or the new 1D X Mark III and one of just six compatible L lenses, the CR-S700R is definitely not a “mass market” product. It’s built around a remote pan head that’s mounted on a central axis so it can zoom, pan, tilt, and roll the camera “in a small footprint” and with “minimal shifting of weight and balance.”
The CR-S700R comes with the IP camera controller CR-G100, which connects with Canon’s creatively named “CR-A100 Camera Remote Application” to allow for the operation and control of multiple units from a single PC.
Canon says the system is “ideal to follow high-speed subjects,” and while the press release mentions its “compact and lightweight” design, as you can see from the image above, that designation should come with a big fat asterisk.
Since the CR-S700R is built specifically for still image shooting, it’s compact and lightweight *compared to other systems that are meant to capture both stills and video.
Both the CR-S700R Robotic Camera System and the accompanying software will be available to purchase starting mid-February 2020 for the price of “please contact your local Canon pro market representative or regional sales manager” (translation: a lot), so expect to see at least a few of these on the track in Tokyo.
Not to be outdone by SanDisk’s crazy 8TB portable SSD concept, Samsung brought their own “next-generation” SSD to CES 2020. It’s called the T7 Touch, and it’s a fast, portable SSD with a built-in fingerprint reader for security.
Unlike SanDisk’s drive, the Samsung T7 Touch is a real product that has really been released. A follow-up to the very popular Samsung T5 portable SSDs that you’ve probably seen around, the “Touch” version of the T7 does more than improve transfer speeds (although it does that, too). Its party trick is the addition of AES 256-bit encryption via either a password or the built-in fingerprint reader.
“Consumers who are constantly on the go between work, play and passion projects want to be able to securely carry their content with them,” said Samsung’s Mike Mang. “Now their data is secure thanks to the fingerprint recognition functionality incorporated into the product, which delivers industry-leading transfer speeds in a compact form factor.”
The tiny solid state drive comes in 500GB, 1TB and 2TB configurations and features USB 3.2 Gen 2 for max transfer speeds of up to 10Gbps—you’ll have to step up to full Thunderbolt 3 to beat that—and it’ll be available this month in either silver or black. The 500GB version will cost you $130, 1TB is going for $230, and the maxed out 2TB version will run you $400.
To find out more about the Samsung T7 Touch or pick one up for yourself, head over to the Samsung website here.
Todd Spence and Zak White of Midnight Video share their tips for creating scary horror shorts on virtually no budget.
If you know me, then you know I’m all about horror. And I’ve been following LA-based filmmakers Todd Spence and Zak White (who release movies under their Midnight Video banner) for a few years now. Their work is atmospheric and creepy and always packs a good, punchy scare. For instance, 2017’s Your Date Is Here was a Fantastic Fest pick and a viral hit, and is one of my favorite horror shorts ever.
I was super excited when they released their latest short film, Fear Wish, this month. They made this particular short while working out some kinks on a separate, bigger-budget project, and kindly agreed to give No Film School a behind-the-scenes look at their development process and how they work with basically no money. So let’s dig in!
NFS: You guys went to school together in St. Louis, moved to LA, and were originally working in the comedic space. What prompted the shift to horror?
Photographer Mark Denney has put together a helpful video for beginners, in which he points out five of the most common photo editing mistakes he’s seen and made when it comes to shooting landscapes.
Of course, any “worst” mistakes video is going to be up for debate, and Denney admits as much. But it’s hard to disagree with the five points he’s put together, especially when you listen to Denney explain each point in detail in the video above.
Here are his 5 mistakes in order of increasing “impact” on the quality of your image:
Bright Shadows – Don’t just drag your Shadows slider to +100 and call it a day.
Leaving in Distractions – Don’t be lazy! Take the time to remove distracting elements.
Poor Cropping – The right crop/composition can make an image… or ruin it entirely.
“Bad” Contrast – Try to find that perfect balance between “too much” contrast and “not enough” contrast for any particular scene.
Over-Editing – We’ve all done this…
Check out the full video to dive much deeper into each of these tips, including sample before-and-after images that show how much of a difference they can make. And if you want to add something to Denney’s list, drop your own “worst photo editing mistakes” in the comments down below.
Please Note: Once you press play it will take a few seconds for the episode to start playing. The Art of Directing Actors with Judy Weston Today guest is the legendary writer and educator Judith Weston. Her book Directing Actors: Creating Memorable Performances for Film & TelevisionandThe Film Director’s Intuition: Script Analysis and Rehearsal Techniques is…
The deep depth of field in some cinematography is all-encompassing and beautiful. But how do they achieve those shots and how can you recognize them?
Cinematography is a language. You have to practice it to become fluent.
One of the first things you need to learn is depth of field.
What is that? Well, depth of field is defined as the distance between the nearest and the farthest objects that are in acceptably sharp focus in an image. So, basically it’s what’s in focus within the frame you’re shooting, to put it really, really simply.
Today, I want to specifically target deep depth of field. It’s a great place to start out as a filmmaker and it has a ton of practical uses moving forward.
So let’s jump into the article and see what we can learn.
What is Deep Depth of Field? (Definition & Examples)
Deep depth of field definition
Depth of field is all about focus. So a deep depth of field means that a larger area is in focus, even everything in the frame. Sometimes this is called “deep focus.”
Canon was an on announcement spree at CES. In addition to officially releasing the 1D X Mark III and debuting an AI Lightroom assistant, the camera brand also launched something called Image Connect: a ‘photographer matching service’ that could help photographers find work.
Canon is calling Image Connect a “matching service,” but you can think of it as a full-featured job board that takes you from booking, through image delivery, and even handles payment. The whole hiring process happens through the platform, as Canon explains in this step-by-step breakdown:
Through the platform, customers can provide basic details for the job, such as event type, location, and date
Once photographers are matched with the customer through the platform, customers review photographer profiles and invite those they like to bid on the job
Photographers create an offer which allows them to set their own price (rather than adhering to standardized pricing) and allows them to communicate their rates and value to customers
Once an offer is accepted, the job is booked through the platform
Following the event, images are delivered electronically to the customers through a Canon customer portal
From “bidding” on a project, to communication ahead of time, to image delivery and payment, it seems you’ll be able to do it all through Image Connect.
The beta version of the service will be available “in a limited number of markets” across six US states—Connecticut, Florida, New Jersey, New York, Pennsylvania, and Texas—and will initially offer services for family events like newborn portraits and birthday parties, but Canon expects to expand both the locations and types of photography on offer as time goes on.
Importantly: you don’t need to shoot Canon gear to use Image Connect—the service is “brand agnostic.”
If you want to learn more about this service/marketplace or join the waitlist, you can dive into the details at this link. The official launch of Image Connect should happen sometime in Q1 2020, so we shouldn’t have to wait too long.