hdslr

Watch on www.niceladyproductions.info

Manfrotto has dropped a very cool little gizmo called the DADO Kit. This little orb and extender rod kit offers the ability to connect light stands, Manfrotto clamps, lights, mics and whatever else you can think of–all to one little dude. I would love to see how people will put the DADO kit to use. Considering the rods screw into the center orb, the design looks pretty solid.


DADO Kit at BH Photo

3 rod kit: $56.50
6 rod kit: $76.95

vimeo

Excellent monopod tips from StillMotion.

DIY Slider by blickblocks on Flickr.

Via Flickr:
Made this slider from a rowing machine found in the trash. It consists of a long aluminum extrusion, and a simple steel sheet metal cart with urethane wheels. All I had to do was drill a hole for the head to mount on. Shown with my Casio EX-Z80 just as a prop, I use this slider with my Nikon D3100.

An on-camera monitor can be a tremendously valuable tool for professional video production. Most cameras have a built-in display, but often times a camera’s built-in display is rather small and—especially when it comes to shooting with HDSLRs—they are sometimes fixed in one position on the back of the camera. (via On-Camera Video Monitors | BH inDepth)

What causes 24p video to look jumpy?

Everyone wants to shoot 24p but it only looks “natural” when viewed at a higher framerate:

A large amount of content is produced in 24p. In theaters, 24p is the standard, but narrative television is also often produced in 24p. Yet, we don’t experience any obvious jumpiness when watching 24p on television or in theaters. Why not? One of the reasons is that we don’t often actually see 24p in either of those environments. In the U.S., we broadcast all video at 60 Hz. NTSC video is broadcast at 60i (59.94 interlaced fields per second), 1080 video is also broadcast at 60i, and 720 at 60p (59.94 progressive frames per second). To show 24p in the 60 Hz world, we need to convert it using a 2:3 pulldown method. This process not only conforms the video to the standard, but also has a smoothing effect. DVDs are mastered this way, as well, giving the same smooth result. Home televisions also often double their display rates (a 120 Hz TV is easy to find at your local electronics store), and this smoothens video on home screens even further.

24p film doesn’t have pulldown, so why isn’t it jumpy? Well, there’s something special happening that helps reduce the effect. Thomas Edison determined that for comfortable viewing in theaters, 46 fps was the minimum display rate of projectors. Projectors used a multiple-bladed shutter to show 24 fps film at 48 times a second, doubling the display of each frame. Many modern projectors actually will show each frame three times, giving 72 frames per second on screen. This has the same smoothing effect to our eyes that we see on TV sets. In fact, some of the only places we don’t see this smoothing effect is on production monitors and computer screens, so we can understand why cinematographers and editors may get a little uneasy about the 24p jumpiness.

Read the rest at HDVideoPro

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Wide Open Camera has a generous helping of Cine Gear 2011 coverage on their site, but in addition to gear news, they’ve brought us this helpful video about balancing a Glidecam HD-2000 stabilizer. If you’ve ever used a Glidecam or any camera stabilization system you know they take practice to master, but once you get the hang of it you can really pull off some incredible shots. Having used them, I’m personally a fan of the Glidecam line of products.

The Comodo Orbit is a camera stabilization system that will make you rethink the way you shoot a scene. Designed to support HDSLR/mirrorless cameras and small to medium-sized camcorders, the Orbit uses a patented twin-grip stabilization system, which allows the camera operator to move freely around the action, capturing angles not possible with other stabilizers. Best of all, it does this without the use of balancing weights, batteries, or motors! (Comodo Orbit Handheld Camera Stabilization System  via BH inDepth)