I’ve recently made a big investment in new equipment, the biggest of which is a complete switch to a Fujifilm ecosystem, for both stills and video, meaning I have no use for most of my Canon kit any more. Then as I look through the drawers, I realised there were other pieces of kit that I wasn’t really using any more for similar reason so I decided to round these up and oragnise a clearout sale to hopefully replace stuff I don’t use with stuff I do. So here’s the list. See the bottom of the post for transaction modalities. All photos were taken at the time of publishing this post.Details
I don’t usually write posts about gear news, but Fuji’s latest announcement has managed to get the reserved person that I am to buy into the hype. As mentioned in the title, Fuji has announced the next iteration of its co-flagship camera, the X-T2, a few months after the release of the X-Pro2. To understand why this announcement turned out to be a big deal for me, let me give you a bit of contextDetails
One of my objectives this year is to play with more video-oriented cameras, mainly for my personal experience, but also to make an educated decision about a potential purchase. The first camera to open the ball is the Canon C100 MkII as it was the cheapest to rent in my shortlist. I went on to shoot a short film for a weekend.
Note: This is in no way a review of the camera. I had it for two days and only shot one. That’s nowhere near enough time to have a definitive opinion on the camera, but first impressions are worth sharing.Details
We’ve looked at the two biggest tasks Prelude is designed to help you accomplish: ingesting media, and logging it. There’s one last thing that Prelude can do and which is worth looking at: the ability of creating rough cuts. This will lead us to talk about an important piece of the pipeline, which is the transition from Prelude to an NLE.Details
Once you’ve ingested your media into Prelude, you can finally get started on what is the bread and butter of Adobe Prelude: logging content. This stage of the process is about adding extra information (metadata) to your clips, ranging from a description of the content, to the camera angle that was used.This is all in the name of making your life easier when you look for clips when you put your edit together. There are two ways to log content in Prelude: File Metadata, and markers. If you’re considering using Prelude, chances are it’s for the marker logging feature. But before we look into it, let’s see how that information can be of use once in Premiere.Details
Once you’ve created a Prelude project and before you can do anything useful with it, you need to add some content to your project. This is called the Ingest stage. In the world of video production, ingesting media is a basically a fancy term for importing your files from your memory cards or external hard drive into your editing suite. When working with Adobe Prelude however, it deserves its fancy name as it becomes more than ever an involved stage in the pipeline.Details
Back in July, after filming my first interview for Back to the Source, I realised that managing all those files would rapidly become a headache. I asked around if there was any software designed to manage dailies and someone told me to take a look at Adobe Prelude. And so I did. And I’m glad. It’s a young product, but Prelude is an invaluable tool to use before you start on post-production, especially when you work on a project that’s not entirely scripted, such as a documentary.
This is the start of a series of articles regarding the use of Adobe Prelude in my documentary project. This is not supposed to show the one true way of using Prelude, but rather describe the various steps involved in using the software, the pipeline questions that one might ask themselves and my personal answers to those questions. Screenshots might sometimes seem inconsistent with what I’m writing, but that’s because my pipeline is evolving as I learn more about Prelude and I’m not going back to refactor my test project every time.Details
My first “accessory” purchase (i.e. not a camera body or lens) after I started photography was a tripod. Why? Mostly for the long-ish exposures I wanted to take at night, and the ability to place my camera at pretty much any height I wanted without having to squat for an extended period of time.
As for many things in photography equipment, there was an overwhelming breadth of choice, and an annoyingly wide range of prices. How much to spend? What to get (Carbon fibre, aluminium) ? I didn’t really know where to start. After watching a video from DigitalRevTV, I knew I couldn’t go for the cheapest tripod I could find, but I couldn’t afford to spend £300+ in a tripod either. So I decided to think about my needs and chose accordingly.Details