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Tip #916: 10 Books to Spur Your Creativity

Larry Jordan – LarryJordan.com

Creativity is more than technology. These books can help.

Perfume book cover.

Topic $TipTopic

James Thomas, writing for RitualMusic.com, created a collection of essential books for filmmakers. Not one talks about technology; instead, each inspires creativity.

As he was creating this list, he was reminded of a sentiment from an old college professor: “You can’t always tell if someone has gone to college, but you can always tell if they read.”

Here is his collection of ten books that will help prime your creative faculties with inspiration and plenty of literary nutrition.

  1. Stoner by John Williams
  2. Perfume by Patrick Süskind
  3. Last Exit to Brooklyn by Hubert Selby Jr.
  4. Chelsea Girls by Eileen Myles
  5. Colossus of Maroussi by Henry Miller
  6. Invisible Cities by Italo Calvino
  7. The Argonauts by Maggie Nelson
  8. A Moveable Feast by Ernest Hemingway
  9. Journey to the End of the Night by Louis-Ferdinand Céline
  10. The Easter Parade by Richard Yates

NOTE: His description of each book is poetry in itself, plus, he provides links to purchase each book on Amazon.


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Tip #917: Promote Your Blog on Social Media

Larry Jordan – LarryJordan.com

Not all social media is alike. Here are some tips to enable your messaging.

Image courtesy of Cision.com.

Topic $TipTopic

Cision, formerly PRNewsWire, has a blog focused on journalists which I tend to read fairly regularly.

Recently, they discussed “How to promote your blog content across social media platforms.”

Before you start, it is important to know who and where your audience is. “Once you have an understanding of where you have the best chance of getting in front of your readers, you can plan the type of content that’s going to appeal to them on that particular platform.”

Then, the article describes specific techniques for:

  • Twitter
  • Facebook
  • LinkedIn
  • Instagram

It wraps up with a discussion on when to schedule your posts and an info-graphic that summarizes everything.

Read it at the link above.


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Tip #918: Types of Lighting for a Film Set

Larry Jordan – LarryJordan.com

Nothing says every scene in your film needs to be lit by the same lights.

A tungsten light, with barndoors, in operation.

Topic $TipTopic

Anthony Najera, writing for Shutterstock.com, created a breakdown of the different types of lights you might see on a film set. This is an excerpt.

“What’s the H.M.I. Roger Deakins is always talking about? Do people still use tungsten lights? Should I use LEDs in this scene or fluorescent? There are a ton of different types of lighting on a film set, each with their own qualities, pros, and cons. Let’s take a look.”

  • Fire. Lighting a scene with fire creates a beautiful aesthetic, as well as an element of caution.
  • Tungsten lights. If we’re going by age, next up is the tungsten category. Tungsten lights have been used to make movies for as long as movies have been made. Tungsten lights are easily recognizable as “movie making lights.”
  • HMI (Hydrargyrum Medium-Arc Iodide). Hmm… I didn’t know HMI stood for “hydrargyrum”… HMIs are much larger in size in comparison to their tungsten-equivalent wattage light. The HMI dwarfs the tungsten in size.
  • Fluorescent. With advancements in tech comes improvement in efficiency. Fluorescent lights are super efficient, especially when compared to a tungsten light. A 60W fluorescent could match the output of a 650W tungsten. With this low power consumption comes less heat.
  • LED (Light Emitting Diode). LEDs take the power consumption and heat improvements of fluorescent to the next level. LEDs are highly efficient and run basically cool to the touch. You don’t have to worry about these lights heating up a room because you ran them for hours.

EXTRA CREDIT

The article, linked above, has lots more details, images, pros and cons of different instruments and links to learn more.


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Tip #897: The Real Reason for a 12K Camera

Larry Jordan – LarryJordan.com

12K is all about improving 4K image quality.

The Blackmagic Design URSA Mini 12K camera.

Topic $TipTopic

Last week, Blackmagic Design released a new version of the URSA Mini camera that shoots 12K video frames! Why???

As many of you know, I am not a fan of ever-larger frame sizes; or the massively huge files these formats create. However, recently, Simon Wyndham, writing for Red Shark News,  wrote a thoughtful analysis of the thinking behind this camera.

The entire article is worth reading, including a discussion of why the camera supports Blackmagic RAW, but not ProRes or ProRes RAW, and the new way it uses to record raw sensor data that bypasses deBayering. Like I said, an article well worth reading.

NOTE: Here’s the article link.

THE KEY HIGHLIGHT

However, the key behind Simon’s analysis for me was his thinking about 12 K images. Here’s an excerpt:

“Blackmagic Design didn’t really make the camera with the resolution it has so that you can film in 12K. You can do this perfectly easily of course if you want to, but the real reason why it exists is so that you can shoot exceptional 8K and 4K.

“It was famously said that the perfect resolution for a camera is 100MP (14K). Why? Because the human eye consists of 100 million rods and cones. The 80MP of the 12K URSA Mini is well on the way towards that ideal. At resolutions as high as this pixels become pretty much irrelevant. It becomes a point at which digital, for all intents and purposes, becomes analogue.

“Noise structure becomes incredibly fine, and with oversampled lower resolutions it becomes averaged out further. Subtly of detail and texture structure is picked up that you simply do not achieve with a native 4K or even 8K camera. At this sort of resolution, while aliasing technically still exists, it is visually reduced to nothing. It’s just too fine to see. High frequency edges become naturally smooth.

“Even on a 4K television, and in some instances an 8K one it is possible to see the edge structure on something like sharp white text on a dark background depending on the distance you sit. At ultra high resolutions these high frequency edges are totally smooth. And as we’ve mentioned many times before on RedShark, higher resolutions are not necessarily about more detail, but much more about edge smoothness.

“So primarily the 12K URSA Mini is not about actually filming 12K on a daily basis, but it is about filming extremely high quality oversampled lower resolutions.

“Do you need the extra resolution? No, you can work perfectly well with your existing 4K camera. But, and it’s a big but (no Shrek reference intended), we are in the business of producing the best pictures possible. And while high resolution isn’t the only arbiter of picture quality, it is an indisputable fact that it is most certainly an important one.”


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Tip #898: Top Ten Single Take Music Videos

Larry Jordan – LarryJordan.com

One take means much more pressure on production – but the results are worth it.

Screen shot from OK Go “The Writing’s on the Wall.”

Topic $TipTopic

The folks at MotionArray have compiled the Top Ten One-Take Music Videos. Because, why not? This article first appeared in MotionArray.com. This is an excerpt.

We often focus on the art of editing, but what about the art of not editing? What we mean here, is the very tricky art of directing and shooting a scene in a single take. And in this case, we’re taking a look at some of our favorite single take music videos.

Here’s their list. The link at the top provides more details and a link to each video. Enjoy debating your own top ten.

  1. Lucas – Lucas with the Lid Off
  2. Feist – 1, 2, 3, 4
  3. Cibo Matto – Sugar Water
  4. Interpol – No I in Threesome
  5. Gary Jules – Mad World
  6. OK GO – The Writing’s On The Wall
  7. Bat For Lashes – What’s A Girl To Do
  8. Weezer – Undone, The Sweater Song
  9. Sia – Chandelier (One Take Version)
  10. OK GO – Upside Down & Inside Out

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Tip #899: Essential Gear for a Production Company

Larry Jordan – LarryJordan.com

Buy gear as you need it, not in anticipation of needing it.

Blackmagic URSA Mini 12K camera.

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is an excerpt.

From 4K cameras and gimbals to editing software and computers, here’s a look at the essential gear you’ll need to start your own video production company.

While you’ll find lots of content online that insists you should immediately get your hands on a high-end camera, a couple of new drones, and some studio space — — I actually suggest starting small when it comes to cameras, gear, and equipment.

Larry adds: My philosophy is to buy your gear using client dollars, rather than your own, as much as possible.

Here is the essential gear Jourdan recommends:

  • Versatile 4K Hybrid Camera. Any video production company that wants to get work needs to have a 4K camera ready to go at a moment’s notice. Luckily, there are plenty of surprisingly affordable options.
  • Go-To Cinema Camera (Own or Rent). You can get more work — broadcast commercial shoots and the like — by offering clients a higher-end cinema camera option. However, I’d suggest renting high-end cameras until you’re certain you’ll need one consistently enough to warrant the investment.
  • Tripods, Gimbals, and Rigs. For those just starting out, I recommend investing in at least one: tripod, slider, handheld rig and gimbal/steadicam.
  • Three-Point Lighting Kit. Invest based on current needs, then expand. Specifically, start with a simple three-point lighting kit that’s functional, easy to move quickly, sturdy enough to not fall or break, and priced in a way that won’t limit your resources elsewhere.
  • Audio Recording Bundle. Audio needs vary drastically from shoot to shoot, but I’ve found that having these basics will cover the majority of your projects:
    • Multi-channel audio recorder
    • Shotgun boom mic
    • Boom mic pole
    • Boom mic stand
    • Wireless lav kit
    • Multiple headphones
  • Quality Editing Computer. If you’re offering full service (also called turnkey) video production that includes editing work, then I highly recommend putting most of your investment resources into your computer(s) and editing workflow. Apple computers — like the Apple Mac Pro, iMac Pro, and MacBook Pro — have never let me down.
  • Editing Software. There’s no wrong answer here. Adobe Premiere Pro, Apple Final Cut Pro X and DaVinci Resolve still rule the industry.

EXTRA CREDIT

In the article linked above, Jourdan provides specific gear suggestions, with links to learn more.


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Tip #879: 5 Key Corporate Video Client Types

Larry Jordan – LarryJordan.com

Every client is a steppingstone to more work.

Production image courtesy of Pexels.com.

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is an excerpt.

Let’s break down the five most common clients in corporate video production, and explore how you can prepare for their on-set and post-production needs.

By investing in your clients, it’s easier to turn them into partners (and even friends) who you can work with as if you’re on the same team. In fact, I’d say that anyone interested in corporate video production should make it a serious goal to get to this “same team” mentality with their clients. After all, the best client, as they say, is the one who keeps coming back to you.

  1. One-Off Productions. These clients can be found on all your job boards, industry specific forums, or even from word-of-mouth recommendations. Take these projects when you can, but always push to turn them into bigger roles in the future. My advice is to show up, do great work, be positive, and try to talk with the highest-level stakeholder you can find.
  2. Event and Live Streamers. These are by far the most boring — and often the most logistically challenging — of the video projects you might be called on to produce. They can also be the most consistent and lucrative. My advice for these types of clients is to work early and often to make your video services a holistic part of their events.
  3. Social Media Marketers. It’s been reported that over 78% percent of people are watching videos online every week, and 72% percent of customers prefer learning about products or services through video. As such, many of the corporate video opportunities you’ll find moving forward are going to be specifically focused on social media video content.
  4. In-House Production Support. It’s no secret that companies up and down the Fortune 500 create a lot of video content. However, the idea that their in-house resources include enough people, gear, and time to handle all of their video needs is naive. A solid point of contact within the marketing or production department of a big-time company can quickly become your best client. If you do good work and make their life easier, they’ll call you whenever they need more support.
  5. The Creative Branding Partners. This might be the best client of them all. You should work to ensure that every single one of your previous clients views you and your company this way. At the end of the day, clients are going to come back to you because they have video needs, but also because they like you, respect your work, and trust you to deliver a quality product.

The link at the top has more examples and links to videos.


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Tip #880: Insights on Being a Producer

Larry Jordan – LarryJordan.com

Making films is a business. The Producer is CEO.

Film set image courtesy of Pexels.com.

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This links to five video interviews with industry producers on what it takes to step your career up to the next level.

Interviews feature:

  • Mark Heidelberger
  • Toby Halbrooks
  • Christina Sibul
  • Bonnie Curtis
  • John Paul Rice

I really like John Paul Rice‘s comment: “Start from the end. Start from the very end and work your way back. Don’t start here and go forward without knowing where you’re going to end up… It’s a clear objective of where you should be at this stage. It should be a logical conclusion because everything should flow forward as it flows backwards, as well. You won’t miss anything that way.”

Jourdan’s article summarizes the interviews, then links to them so you can watch them yourself.


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Tip #881: Starting a Motion Graphics Studio

Larry Jordan – LarryJordan.com

“Know what you’re getting into before you start.”

“Being Brilliant” is not enough. (Image courtesy of Pexels.com)

Topic $TipTopic

This article first appeared in MotionArray.com. This is an excerpt.

MotionArray interviewed Yesael Sumalave, owner of Witness, about starting a motion graphic studio. They talked about how he decided to open a studio and what you have to think about before jumping into running a motion design business of your own.

Topics include:

  • Getting Started
  • Industry Insights
  • The Business Itself
  • Advice for Artists
  • Favorite Work

As Yesael says: “Really think about it, and think about all of the things that go into running a studio. You won’t just be sitting around making art. You have to deal with clients. You have to deal with managing talent. You have to deal with billing and a lot of other things that aren’t art-related. … Know what you are getting into before you start.”


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Tip #861: NewTek Launches Training Site

Larry Jordan – LarryJordan.com

new classes provide training and, if needed, certification.

NewTek University logo.

Topic $TipTopic

Last week, NewTek announced exclusive learning and certification opportunities through NewTek University. NewTek University courses range from operating guides to classes on selling NewTek solutions.

All learning materials are available online and on-demand, connecting users with an unparalleled learning opportunity no matter their location or time zone. New team members can be brought right up to speed in no time with new content being added to the existing library throughout the rest of 2020.

Class fees start at $895 and exams at $249. Free sample classes are avaliable. All courses are available 24/7 online on-demand.

For more information visit: here.


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