DSLRPros 3-Axis Handheld Stabilizers


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October 24, 2014

By Jeff Foster | provideocoalition.com

Two Amazing New 3-Axis Powered Stabilizers for Smartphones and GoPros

Never before have 3-axis brushless motor-driven handheld stabilizers been more needed than with release of the latest smartphones and GoPro cameras! I’ve had a chance to test both of these products from DSLRPros and give you a sample of how they work and what kind of results you can expect from them.

DSLRPros 3-Axis Smartphone Stabilizer

When I first shared the news about the DSLRPros 3-Axis Smartphone Stabilizer on PVC back in April, 2014, it was a while before I actually got a unit to test myself. We had a chance to give away a few at my Drone Workshop on CreativeLive when it aired back in July but I’ve since had a chance to test it with a couple different phones – including the iPhone 5 and iPhone 6*.

It works just like a 3-Axis gimbal like you’d find on a drone or other electronic stabilized system for larger cameras, such as the DJI Ronin. Only this small stabilizer is perfectly balanced to cradle a smartphone with it’s spring-grip clap design that easily adjusts for a variety* of phone sizes. (*Note: will not accommodate the larger smartphones like the Samsung Note or iPhone 6+)



Filming the documentary “The Lost Clipper”

For much more on this article including helpful comparison videos, click here.

Free HD Textures from Texture Labs


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October 23, 2014

By Kim Sternisha, Toolfarm

Texture Labs, a new, online, high res library has tons of high quality HD textures that are free for personal or commercial use, handy for upcoming web and video projects.

wooden planks

Wooden Planks

Need wood, concrete, plaster, grass, fabric, dirt, doors, windows for your latest project?  Texture Labs has created an online library full of textures and tileable materials.  You can use the textures in your works, but you can’t sell or redistribute the original photos as your work.  Most of the images are 4752 x 3168.

Visit Texture Labs







About Texture Labs:

“We’re two guys with a great passion for photography and digital art. We’ve decided to start this project so that we can build a great and Hi-Quality library accessible to everyone. The site is optimized to guarantee the best accessibility to all the contents.”

rough rocks

Rough Rocks

The GoPro Field Guide, Tips and Tricks Series


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October 22, 2014

by , Photofocus

The GoPro Field Guide

While they started as first person POV action cameras, GoPros have become a standard tool in the kits of many cinematographers. Each version of their flagship Hero camera has improved on the design and capabilities of this tiny camera.

Now, The folks at GoPro have started putting together, The GoPro Field Guide, a video tutorial series for their flagship product. I’ve assembled the first three episodes in a playlist for the video above. You can also find the episodes, mixed in with other content, in GoPros’s Tips & Tricks playlist.

GoPro Field Guide

The GoPro Field Guide will get you started. When you are ready to take it to then next level, you can find almost seven more hours of GoPro training from our friends at Lynda.com.



GoPro Tips and Tricks Series

The GoPro Team gives you professional advice on how they capture life’s most memorable moments.


Repairing Damaged Pixels


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October 21, 2014

By Michele Yamazaki, Toolfarm

Dead pixels, stuck pixels, bad pixel, burnt pixels, hot pixels… there are lots of types of damaged pixels and they’re annoying. Here are several ways you can repair them.

Damaged Pixels

Introduction: What is a Damaged Pixel?

First, lets get semantics out of the way. The term damaged pixel refers to several types of damage that can be recorded on a camera. The damaged pixels I’m referring to in this article are often caused by damage to a camera with CCDs or CMOS sensors. The damaged pixels can be white, black or sometimes even colored, but they are caused by different problems. I’ll try to explain this as simply as possible.

Dead pixels or burnt pixels happen when all three sub pixels (red, green and blue) are permanently turned off in the camera. They show up as black in the footage.

A hot pixel is when all three sub pixels are turned on, showing up as a white pixel in footage.

A stuck pixel is when one of the three sub pixels are turned on, so it can show up as red, green or blue.

You can also experience what could look like damaged pixels if the sensor is dusty or dirty. In that case, get your camera cleaned professionally. You can risk serious damage to the camera if you’re swabbing the sensor when shutter’s curtain or mirror closes. If you’re seeing out of focus areas, this may be caused by a dirty lens.

Here’s an eHow video on dead pixels.

Click here to read the rest of the article…


‘Layer-Lapse’ Combines Different Times into Each Shot


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October 20, 2014

by Michael Zhang, PetaPixel



Recently, we featured the work of a photographer who layered different times of day into single photos. Photographer Julian Tryba‘s recent project is similar, except it’s a timelapse.

Tryba has created what he says is the world’s first “layer-lapse” video, or a time-lapse video that shows different times of the day in different parts of each frame. The video is called “Boston Layer-Lapse“.

Traditional time-lapses are constrained by the idea that there is a single universal clock. In the spirit of Einstein’s relativity theory, layer-lapses assign distinct clocks to any number of objects or regions in a scene. Each of these clocks may start at any point in time, and tick at any rate. The result is a visual time dilation effect known as layer-lapse.

The project took 100 hours to shoot 150,000 photos weighing 6 terabytes and 350 hours to edit through 800 drafts and iterations. Each of the clips has an average of 35 different layers toggling in and out.

New time-lapse technique bends the spacetime fabric

Photographer Julian Tryba created this crazy time-lapse of Boston which, actually, is not a time-lapse but a layer-lapse: The objects in each sequence—buildings, vehicles, the sky—run at different speeds and times than others. That’s because he has layered them, animating each layer separately.

Screen Shot 2014-10-13 at 12.57.10 PM

Screen Shot 2014-10-13 at 12.57.19 PM

Screen Shot 2014-10-13 at 12.57.26 PM

Screen Shot 2014-10-13 at 12.57.28 PM

Equipment used include a Canon 6D, 7D, 16-35mm, 24-205mm, and Tokina 11-16mm.

Tryba works full time as an engineer at GE Aviation and shoots time-lapses in his spare time. He came up with the idea for this layer-lapse project after learning coming across Fong Qi Wei’s “Time in Motion” project here on PetaPixel, which uses a similar layering idea in animated GIFs.

You can find a behind-the-scenes look at how this project was shot over on Kessler, which sponsored Tryba after coming across this video.

Update: This video of Chicago by photographer Geoff Tompkinson was released a year earlier than the video above. Although a bit different, it may actually be the first layer-lapse:


Color Grading Strategies

Originally posted on digitalfilms:


A common mistake made by editors new to color correction is to try to nail a “look” all in a single application of a filter or color correction layer. Subjective grading is an art. Just like a photographer who dodges and burns areas of a photo in the lab or in Photoshop to “relight” a scene, so it is with the art of digital color correction. This requires several steps, so a single solution will never give you the best result. I follow this concept, regardless of the NLE or grading application I’m using at the time. Whether stacked filters in Premiere Pro, several color corrections in FCP X, rooms in Color, nodes in Resolve or layers in SpeedGrade – the process is the same. The standard grade for me is often a “stack” of four or more grading levels, layers or nodes to achieve the desired results. (Please…

View original 1,032 more words

176 FREE Premiere Pro Effects and Plugins! Plus 50 Free Plugins for FCPX!


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October 17, 2014

by Charlie at LightLeakLove

In this article we are going to share over 150 FREE Adobe Premiere Pro plugins and effects that we reckon are pretty darn amazing!

As editors we all need tools up our sleeve to help us achieve our desired edits faster and more efficiently. We also need to be pushed and stimulated creatively. The free Premiere Pro plugins and effects we have curated in this list will do both of these things; some will help you add that feathered crop with a couple of simple clicks, while others will apply whole new looks to your piece you may not have yet considered, influencing your creative decisions (in a good way!).

There are a heap of free plug-in effects for Adobe Premiere Pro out there, but here we have complied the ones that we think are the best!

Before we begin, we just want to give a big thanks to all of the awesome individuals and companies that have spent the time crafting these effects, you guys rock!

Let’s get started, we might be here a while!

Note – To access the effects listed in this article, simply CLICK HERE then on the effect title to be taken to a download page.

Pssst – For all those Final Cut Pro rockstars out there, don’t feel left out! We have an epic freebie list for you too! Click here to see 50 Free Plugins for FCPX!

Happy editing!
Charlie @ LightLeakLove.com


The Top Ten Final Cut Pro X tips for editing under pressure


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October 16, 2014

by Peter Wiggins via fcp.co

top ten fcpx pressure

Given two weeks, everybody can edit a piece on FCPX. That’s a completely different matter when you’ve only got a couple of hours before you need to deliver or broadcast your edit. Ten great FCPX tips from Peter Wiggins to help everyone.

Final Cut Pro X is quick, but that creates its own problems. Producers realize that more can be done in the time available and they’ll keep you working closer to a delivery or TX time. Gone are the 15 minute periods where you could put your feet up and watch the blue render line going across the screen. Simply put, FCPX will edit as fast as you can edit.

Over the last 18 months, I’ve used Final Cut Pro X in many high profile broadcast environments. So I thought I’d share my tips on making sure your edit reaches air under pressure. Not everybody can work under stress and I hope these tips might make an editors life easier.

top ten fcpx pressure background render

10 Turn background rendering on

You might be the fastest FCPX editor on the planet, but you will still get distracted, talk to the producer, need the toilet or get a call from the wife or partner that you have to take. Having background rendering turned on means that by the time you’ve told them how to reset the home wifi router again, you’ll have a fully rendered timeline.

9 ‘The banker’ make an early safety export

An old trick from the tape days of editing. By exporting an early version (or ‘banker’) of your piece with a rough grade across all shots, you’ll have a transmittable version in the slot should your edit suite die on you half an hour before air. It also gives the studio something to rehearse with so that the presenters can get the feel of the piece and write a sensible line out of it.

Click here to continue reading…

top ten fcpx pressure check

Professional 3D Model Loader WITHIN FCPX!


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October 15, 2014

by Pixel Film Studios

Now load OBJ models directly into FCPX!


FCPX3D Model 1.0 from Pixel Film Studios™ allows Final Cut Pro X users to upload and control 3D objects in FCPX. With Object and Environment controls, users can customize the texture, lighting, background and reflection of their 3D model without ever having to open another software.

FCPX3D Model was professionally designed by the team at Pixel Film Studios™ for FCPX! Users can simply drag-and-drop a Model layer into the timeline and fill it with an OBJ file.

FCPX3D Model contains easy-to-use controls in the Final Cut Pro X Inspector that allow editors to customize their object, environment, and lighting without ever having to open another 3D software!

With FCPX3D Model, users can load up to 3 objects into a single environment in FCPX. Once uploaded, these objects will be able to reflect or even cast shadows on one another in real time.

Final Cut Pro X users can add realistic textures to their models by applying normal, diffusion, specular, reflection and opacity maps to their objects. FCPX3D Model supports basic MTL files.

Users can also remove the texture entirely to create a wireframe or point frame rendering of their 3D model.

Create a 360° viewing experience by adding an HDRI photosphere environment. With an HDRI background, users can move and pivot in any direction without running into any edges or seams. Also, if the Object is reflective, it will interact with the environment.

Users can move the light sources around in 3D space and watch as their 3D object reacts in real-time.

Once the lights and environment are in place, editors can adjust the reflection and shadow parameters to help blend their model into the scene, seamlessly.

Learn how to load 3D OBJ Models into Final Cut Pro X with the FCPX3D Model Lesson from Pixel Film Studios™.


FREE Color Vibrance Plug-in by Video CoPilot


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October 14, 2014

by Video Co-Pilot

Free Plug-in to create intense hot colorization in AE

Watch on YouTube in HD

Intense bright colorization can be tricky so we created a plug-in that makes it easy to achieve HOT colors instantly.  Plus it’s FREE!

We even added some helpful matte tools so you can generate alpha channels from stock footage like SHOCKWAVE and give you more compositing control. Check out the video to see how it works!


Plug-in Features:

  • Add Hot Colorization with ease
  • Create Alpha Channels  (unmultiply)
  • Works on Pre-Matted Clips
  • Eliminate the faded colors when using mask feathering

Download Mac or PC
After Effects CS5, CS6 & CC
PC & Mac (OSX 10.7+)

We used the Color Vibrance plugin to make these Sci-Fi Guns Pop!

Click here to download.



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