SPSCloud– A new App for screenwriters

Award-winning filmmaker and author David Raynor today launched SPSCloud, a new Web app created for screenwriters, specifically designed to streamline and simplify the process of writing for film and television. David decided to develop the app after he saw a real need for it in the industry while working on his own screenplays and scripts. … Continued

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Sound Devices 32-bit Float USB Audio Streaming for Windows 10

Sound Devices has released an ASIO driver that is capable of streaming 32-bit float USB audio to compatible DAWs on Windows 10. The driver is compatible with the MixPre II Series, The MixPre II Series is the only USB audio interfaces that support 32-bit float recording and playback on macOS Catalina and Windows 10. 32-bit … Continued

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The Wandering DP Podcast: Episode #219 – Joseph White

On the show this week we chat with cinematographer Joseph White about his transition from long form narrative projects to the fast paced world of beauty and fashion commercials.

Joseph shares his insights in to the industry, how he made the switch from long form to commercial, and lays out some of the pros and cons of the commercial life.


Video: Tech Scout Tips

The countdown to the very first course for Wandering DP listeners is officially underway.

This week I wanted to share 5 easy ways to increase Tech Scout Productivity.  The tech scout is easily the most critical time of pre-production for cinematographers to make an impact on the final look and feel of a project.

There are so many things to focus on and to be considerate of in this time period that it can often be overwhelming for new DPs to narrow down what they should be focusing on and who they should be talking to.

This video outlines a few of my tips to help you find out where your time and energy are best spent on the tech scout.

Click the button below to check out the video.

Patreon Podcast – School of Progress

This week on the Patreon Podcast we are looking at one of our own.  It is the return of the listener submitted breakdowns.

In this episode we look at making the most out of your locations, how you can make or break a project by maximizing your budget and more.

To see the images and listen to the special breakdown podcast click the link below:

The Wandering DP Patreon

Featured Guest – Cinematographer Joseph White

Personal Website:  Jospeh White

The post The Wandering DP Podcast: Episode #219 – Joseph White appeared first on Cinematography Podcast & Tutorials.

Talking remote editing with the expert Michael Kammes

Talking remote editing with Michael Kammes

As we watch the spread of the coronavirus continue so does the talk about remote editing and editing at home so I wanted to talk remote editing with an expert on the subject, Michael Kammes. I’ve had calls about this, I’ve been messaged about it and I’ve seen tons of discussion online about it. I know a bit about some ways to edit remotely but not enough to answer all of the questions I had been receiving. I thought to myself… who knows the most about this topic than anyone else on the planet and that was an easy answer in my friend Michael, of 5 Things fame.

Michael works for BeBop Technology who is a leader in this field. Michael has been on an incredibly busy schedule these last few days as interest in this topic has exploded.  He was kind enough to sit down with me Sunday evening for about an hour to answer all the questions I had (and I’m sure you have too) about remote editing.

I wanted to address the topic on several levels and this is a rough outline of how we covered it:

  • Physically shipping media on a hard drive and issues with that
  • Remote-ing into an editing system with an app like TeamViewer, LogMeIn or Google Remote Desktop
  • Putting media on Dropbox or Google Drive
  • Mounting media stored in “the cloud” as a drive on your desktop
  • Using a VPN if you’ve got a facility set up for that
  • Looking at the high end of remote editing like BeBop Technology, the reality of that for small companies and what that might cost
  • The difference between true remote editing vs. working with a client remotely for notes, changes, review, and approval

I wanted to structure the talk to go from the low end, affordable end, easy end of remote editing and walk our way up to the high end, most costly end of the spectrum. Often remote editing is spoken of in the same sentence of as studios and network television but there’s a lot of small shops and independent creators who want to know about how remote editing could work for them as well.

I think there’s a lot of misinformation out there about how remote editing can and can’t work and I think the reality of it is that even though there seem to be a lot of options true remote editing probably isn’t as easy or affordable as many might hope.

Don’t confuse actual real-life, real-time, full-on remote video editing where you’re editing on one system while the media all lives on a system somewhere else in the world vs. remote collaboration. With the latter, you might be working with a client and getting real-time feedback on a cut but you’d have the media locally while the client was remote. This article about real-time remote editing that won’t break the bank from Sofi Marshall is a great read on that and it’s something we address in the podcast. This Frame.io article talks some of the same info in a written form so give it a read too.

This talk is available as part of the PVC Podcast series which should be available in your favorite podcast app. It’s distributed through Anchor so you can also listen over there or just hit the play button below.

How ‘The Plot Against America’ DP Martin Ahlgren Used Deep Focus to Capture An Alternative History

Capturing a country on the brink of fascism with clear focus.

David Simon and Ed Burns, who were co-creators of The Wire, bring us The Plot Against America, a six-part HBO series that asks what if famous aviator Charles Lindbergh won the 1940 presidential election instead of Franklin D. Roosevelt running on an antiwar, anti-Semitic platform.

The limited series is adapted from the Philip Roth 2004 novel of the same name, and its alternative history is chilling. To create the visual palette behind the period piece, show creators looked to cinematographer MartinAhlgren, whose work includes Daredevil, Altered Carbon, and House of Cards, which he was nominated for an Emmy.

Ahlgren met with directors, Thomas Schlamme (The West Wing, The Americans) and Minkie Spiro (Better Call Saul, Downton Abbey), each of which would be helming three episodes, to discuss his point of view of the project.

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Adobe and Avid To Provide Free Software Access During COVID-19 Shift

Accessing software is now a little easier for newly remote creatives.

During this new world of remote work for all, Avid and Adobe want to make it a little easier to support creative endeavors from home. Both companies are quickly rolling out support to help those impacted by COVID-19.

Announced Friday, March 13th, Avid will be providing temporary, 90-day licenses for Media Composer, Pro Tools, and Sibelius to students who no longer have access to their institutions. Avid will also provide the software to remote users who are no longer able to access their places of work. The policy will go into effect Monday, March 16th, and more information will be released on Avid’s COVID-19 resource page.

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Photographer Captures ‘Coalition’ of 5 Cheetahs Crossing Crocodile-Infested River

Photographer Arnfinn Johansen recently captured a beautiful series of photos that show a coalition of male cheetahs (yes, that’s what it’s called) attempting a dangerous crossing of the flooded, crocodile-infested Talek River.

Johansen lucked into this particular experience while on a photo safari in the Maasai Mara National Reserve in Kenya. The photographer is familiar with this group—a famous family of five brothers sometimes referred to as The Fast Five—and says they regularly hunt on both sides of the river.

“Normally, they would cross the river by walking on stones, but this year it had been raining for a long time and because of the flooding, it was very difficult for them to do so,” Johansen tells Bored Panda. “Because of the strong current, it was really dangerous. Also, that river is home to the Nile Crocodile for whom a cheetah can be an easy meal.”

In fact, Johansen says another “well-known cheetah” died trying this same crossing just recently. So when one of the pack leaders (possibly M58 based on the spot patterns) took the lead and jumped in, there was no guarantee all five would make it to the other side. Fortunately the whole coalition made it across safely, even if they weren’t exactly “happy” about the experience.

Scroll down to see the full series of photographs that Arfin captured—from before the cheetahs set off, to their safe arrival on the other side of the river:

To see more from Johansen, head over to his website, give him a follow on Instagram, and check out the Oltepesi Tented Safari Camp that he helps to run.

(via DIY Photography)

Image credits: Photos by Arnfinn Johansen (www.arnfinnjohansen.com) and Oltepesi Tented Safari Camp (www.oltepesi.com). All images used with permission.

This is How the ‘Extended Low’ ISO Setting On Your Camera Works

Photographer Chris Lee of pal2tech has created a much-requested follow-up to his technical breakdown of how ISO works when you take a picture. The followup uses Fuji cameras as an example to explain how the Extended Low, or “L”, ISO setting on your camera functions.

This is a source of a lot of confusion among beginners, but it really quite simple. As Lee explains in the video, the Extended Low ISO setting works by simply shooting an image at Base ISO, and then post-processing the image in-camera to decrease exposure by one third, two thirds, or one full stop, depending on which Extended Low setting you’re using.

Let’s assume your camera’s Base ISO is 160 and you’re using an Extended Low ISO of 80.

If you’re shooting in full Manual and RAW, there should be no difference between using L to take a photo, or taking that same photo at Base ISO and then pulling down the exposure slider one stop in Lightroom, Bridge, or Capture One.

When shooting in RAW and Manual, the L setting is no different than shooting at Base ISO and then using the exposure slider in Lightroom.

If you’re shooting in one of the auto-exposure modes, the camera will actually over-expose your photo by one stop—because it’s pretending that the ISO being used is a full stop lower than what is actually happening at the sensor level—and then post-processing down one stop in-camera before generating your file.

This can bring out more shadow detail at the cost of blowing out some of your highlights, as you can see in this comparison where some of the very slight branch detail is totally gone on the right (ISO 80) vs the left (ISO 160).

If using one of your camera’s auto-exposure modes, the camera will over-expose the image, and then process it back down one stop, which can cause you to blow out your highlights.

So when might you want to use this setting? Most photographers will probably tell you “never,” but if you shoot JPEG-only for convenience (or to make Fro mad), Extended Low is the only way to process the RAW file in-camera before it’s been converted into an 8-bit file. You’ll get better results than you would by editing the JPEG in Lightroom after the fact.

If, on the other hand, you shoot RAW, there’s nothing that the camera is doing that you can’t do for yourself in your favorite RAW photo editor.

Check out the full video up top for a more thorough explanation of how this works, complete with more examples, and if you can think of a different scenario where you might want to use the “L” setting in real life, let us know in the comments.

Beautiful Aerial Photo Captures the Liwa Desert Emerging from the Fog

Photographer, educator, and journalist Spencer Cox from Photography Life recently had one of the most memorable photography experiences of his career while running a workshop in the Liwa Desert outside of Abu Dhabi, UAE.

The rare moment happen a little over a week ago, on a morning shoot that seemed like it would be ruined by the weather. Spencer and his colleague Nasim had taken their group out to the desert at 4:30am in the hopes of capturing a spectacular sunrise; what they were greeted by instead was a thick fog covering the whole landscape.

The situation seemed hopeless, but they stuck around for over an hour until a little piece of blue sky showed up, and Spencer decided to take a chance.

“I decided to launch my DJI Mavic 2 Pro drone and see if there was any hope. The clouds still appeared to cover the whole desert. As Nasim and I looked at the screen, it seemed hopeless,” writes Cox. “But then we noticed a small clearing in the distance that appeared to have sand dunes visible. I flew my drone in that direction, and as I got closer, both Nasim and I started jumping for joy!”

The result of their perseverance is this gorgeous image of the desert almost completely covered up, as just a few dunes emerge from the thick fog:

Spencer recalls the moment as “absolutely breathtaking” and “something none of us have ever seen before”—a small patch of sand bathed in golden light, almost completely surrounded by clouds.

To find out more about this photo and how it came to be, take a moment to watch the BTS video up top, and then head over to over on Photography Life to read Spencer’s the full write-up about the experience.

Image credits: Photos and video by Spencer Cox, used with permission.