If you are using the Canon 5D MKII or Nikon D90 for their gorgeous HD video, or even thinking about it, you need to read this. Creative COW Contributing Editor Jim Harvey shows how the Redrock Micro DSLR Bundle makes these cameras even more useful for video shooters, then shows how he and other pros are using it, in the field and in the studio. Jim is enthusiastic about the possiblities it opens up, and thinks you will be too.
In this Creative COW Magazine article, Jeremy Garchow discusses his experience using the AVC-Intra codec and the Panasonic AJ-HPX2000 camera on an overseas production project.
Cinematographer and Creative Cow leader Todd Terry has shot countless television commercials and industrials using both 35mm film and depth-of-field converted video. In this Creative Cow Magazine Extra, from The Visual Effects Issue, learn how depth of field converters allow you to attach 35mm lenses even to video cameras with fixed lenses, how they work, and which one might be right for you.
John Galt, Panavision Senior Vice President of Advanced Digital Imaging, led the team that created the Genesis camera, was responsible for the F900 Star Wars camera, and continues to play a leading role in guiding future digital cinema technologies. In this Creative Cow Magazine Extra, join us for a wide-ranging conversation, as John cuts through what he calls the intentional obfuscation of marketing pixels, and considers the range of options that are becoming available to digital filmmakers.
In this expanded version of an interview first published in Creative Cow Magazine, Dave describes a possible future for filmmaking -- faster, less expensive, and more creative -- as cameras and metadata come together.
In this extended version of his article in the Creative Cow Visual Effects Issue, lighting expert and instructor Rick Wise draws on his decades of experience to illustrate how shadows can be the most important part of how a scene is lit. Learn how to control the direction and quality of your lighting design to add texture, dimension, and force to your images.
A wild ride of an edit: shot on film, projected onto five screens. In this Creative COW Magazine article Mike Sullivan discusses some of the problems such as lighting and color interaction he faced in a project he did for National Historic Trails Interpretive Center in Casper, Wyoming.
When your corporate clients are as big as Wembley Stadium, a small camera will not do. Besides, Rick Bronks was not interested in HDV or in tapeless shooting that cost more than tape. Enter XDCAM HD.
In this real world video production RED Camera review from The Creative COW Magazine, Assron Zander discusses how The Brooks Institute students put RED ONE through the paces of a student production. Here are their findings.
Don't be afraid of digital workflows, says Mark. And don't be afraid to spend money on the right camera. In this Creative COW Magazine article, Mark Wagoner discusses workflow when working with the Panasonic HPX500 in comparison to the HVX200 and other cameras.
Brandt Sleeper shows how PSCs DV ProMix 3 will help your DV and HDV recordings sound better than ever -- bars and tone, calibration, for one or several cameras. Could this be the field mixer youve been waiting for?
Want to know why you should be using a mixer and an external mic instead of your cameras onboard mic? After years shooting for clients including National Geographic, NFL Film and Oprah, as well as production for his own company, hell give you the background you need to make your work sound its best.
In this review from producer and professor Brandt Sleeper, he takes you on trip through this field mixers exceptional feature set, including support for multiple cameras and NP-1 power. He also puts it through its paces on a segment for Good Morning America.
Interchangeable lenses and powerful, accessible controls make the Canon XL H1 the choice at Fantastic Plastic. In this Creative COW Magazine prosumer hd digital video camera review, Todd Terry discusses the real world pros and cons of the Canon XL H1.
You already know that your digital camera has higher-than-HD resolution -- even higher than film res sometimes -- and the pictures can look amazing. It turns out that your still camera actually works better than an HD video camera for creating time-lapse photography. Marco Solorio tells you how to put it all together.
In this reprint from Creative COW Magazine, Creative Cow leader and broadcast editor Shane Ross uses his work for The History Channel to illustrate end-to-end workflow using P2 media and the Panasonic HVX200: from a multi-camera shoot in the middle of blazing gunfire, all the way to your living room.
After we remarked in the January/February 2007 issue that this would be the year of the COW, Barbara Summer Burstyn wrote to tell us about the film she and her husband Tom had made, with cows playing a central role in its theme. Its a fascinating story that sheds light on the challenges of documentary filmmaking.
In the first of our Creative COW Magazine Web Extras, we begin with Stephen Smiths outstanding article on setting up an area for proper keying from the May-June 2007 edition. His article covers every option for setting up and lighting perfect keys. Here, we look at the best advice around The COWs online communities for pulling keys from HDV footage.
Self-employment may be your personal path to riches and enlightenment, or it may be one of the worst choices you'll ever make. In this article, Creative COW's Nick Griffin discusses the pros, cons and realities of starting your own business and gets into some of the things that should be considered before making the leap.
In this prosumer hd dv camcorder review from The Creative COW Magazine, Timothy Duncan discusses his first impressions with the CineAlta-branded XDCAM HD PDW-F350, along with the PDW-F70 recording deck. Sony's XDCAM HD F350 is an optical disc-based variableframe-rate camera that shoots in both HD and Standard Definition DVCam.
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