 Recently Singular Software released DualEyes, which is a stand alone application that offers the same advanced automatic synchronization technology as PluralEyes but in my opinion, it simplifies the process even further. For my tests, I used a Canon 7D, recorded sound from a Samson Zoom H4N and imported my finished files into Adobe Premiere Pro. In terms of writing a “how-to” or creating illustrations on how to use DualEyes, it’s really not necessary.
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 In a recent poll about HDSLRs, planet5D readers answered this question: “What are your top 3 needs for the next pro level HDSLR?” – we offered selections like 4k video, autofocus in video, reduced jello, HDMI out, RAW video and more. The poll recently closed, but I believe you’ll be surprised at the results – we sure were!
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 Every year, Adobe holds MAX, a worldwide conference that allows attendees to learn new skills, explore up-and-coming technologies, as well as network with their fellow Adobe users. I attended one popular session, “Editing Video with HDSLR cameras in CS5 Production Premium,” which was led by Adobe’s Sr. Worldwide Evangelist (yes, that’s his title) Jason Levine, who gave an informative introduction to Adobe Premiere Pro and the HD-DSLR workflow.
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 Welcome to our Video primer - or the "how to shoot video on Canon HDSLR guide". Using the HDSLR as a video camera is easy, but mastering it is a bit harder. It isn't exactly the same as using the simple Canon Camcorder you've been using to capture the rug rats running around the house. The HDSLR doesn't do the autofocus like your camcorder does and it isn't a fixed focal length either. Most of the experts are recommending you do manual focus "like the pros do" - there is a simple focus technique
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 Without a doubt, the greatest challenge for HDSLR shooters has been editorial. I recently read of another new software that’s supposed to magically make your HDSLR footage palatable for the finicky Final Cut Pro. Why you would ever want to put yourself through the misery and expense of purchasing an additional piece of software that takes hours to work and may crash your computer just so you can cut with FCP is beyond me. The good news is, now you don’t have to…
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 This probably isn’t the usual article on a piece of non-linear editing software. There will be no discussion of professional workflows and how it’s used to create broadcast television or feature films. But rather it’s a discussion of how a modest beginning, dabbling with a new piece of software and one of its signature features has grown into more than just a passing curiosity. It’s also about how that single feature drew me in to Premiere Pro CS5 and how that feature is helping keep the peace a
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 4 shooters discuss the pro's and con's of shooting DSLR vs conventional video footage. In-depth discussion of what DSLRs are good for, where this technology excels and when to use conventional video technology. Featuring a wide array of DSLR and video footage to show the differences between the formats, and how each performs in similar environments.
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 The interest in HDSLR production and post shows no sign of waning. Although some of this information will seem redundant with earlier articles, I decided it was a good time to set down a working recipe of how I like to deal with these files. To some extend this is a “refresh” of the Round II article, given the things I’ve learned since then. The Canon cameras are the dominant choice, but that’s for today. Nikon is coming on strong with its D7000 and Panasonic has made a serious entry into the la
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 Jason Levine has a series of video tutorials on Adobe TV that show how to shoot and edit HD video from DSLR cameras using Premiere Pro CS5 and other applications in Creative Suite 5 Production Premium. These videos are aimed at photographers and other folks who are somewhat new to video editing, so this series serves as a pretty good overview of Premiere Pro CS5 in general.
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 The DSLR revolution has had a dramatic impact on videography, combining some of the best features of professional video with high-end photography. DSLRs are affordable and the image quality is spectacular.
October 2011 update.
Today's latest NLEs allow you to edit DSLR footage easily, as long as you have a powerful computer. We've updated this guide to include info about that, as well as our tips and tricks for using older versions. If you have questions about working with and
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 I attended a LIVA event (that's the Long Island Videographers Association and they meet monthly at the LI Marriott in Uniondale) on a Tuesday evening in May that was completely devoted to HD DSLR cameras and decided that I'd share a brief, but hopefully helpful, summary with my videographer and photographer friends, so they can partake in some of what was covered.
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 The Canon EOS 7D has its frustrations, but this DSLR is an exceptional production tool.
I take great pains with my reviews to be as thorough as possible to consider all the angles and to put the tools through real practical testing. I had the chance to do all of this with the Canon EOS 7D Hybrid DSLR/HD camera – and more. Due to Canon’s generosity, I’ve had the camera in my hands for much longer than most reviews would ever merit and I’ve had the opportunity to do several tests, still shoots
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 Over the past year Canon has produced and shipped tens of thousands of DSLR camcorders worldwide. With so many of these getting into the hands of such a wide range of videographers, from home users, to event videographers, independent filmmakers and now even Network TV shows and Hollywood movies, the impact has been dramatic. At Videoguys.com, we are getting calls and emails and reading new forum threads each day asking us what is the best way to edit and work with the footage created from these
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 Being a freelance cameraman/editor gives me the freedom to accept other interesting projects when not working with the BBC.
When National Geographic approached and asked me to make a film about their “Earth explorer bag collection” I had no doubt that the Canon 7d was the right tool for the job.
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 After Canon PR jumped the gun a bit on the release of the EOS Movie Plugin-E1 for Final Cut Pro, they have finally released the tool here in the back half of March. If you haven’t heard about the EOS Movie Plugin-E1 for Final Cut Pro it’s adds an option to the FCP Log and Transfer tool to import Canon 1D, 5D Mark II and 7D H.264 Quicktime files and transcode to any of the ProRes flavors (or Apple Intermediate Codec) in the process.
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