There is no stronger method of transforming brand identity than through video and animation. We worked with ACL through their rebrand to develop and produce content that represents the new company direction and look.
Fast Turnaround Video Production For Local Government
Wilsons Showcase Media Campaign
Bluebell Label Luxury Face Mask Campaign: Behind The Scenes
'Discover Your Wild Side' Behind The Scenes
Make Professional Video Your Brands Engagement Tool
PiXAPRO LED200B III Light For Video Review
Capturing The Majesty of Yosemite
ANDYCINE A6 Plus 4K Video Monitor Review
United Nations Foundation Video Production at WEF 2019 Davos.
ANDYCINE A6 4K Monitor Review - The Best Budget Camera Monitor?
4K Monitor With a Tiny Price Tag
Its always interesting when you come across new pieces of tech that surprise you. I’ve been on the look out for a camera monitor for quite a while, and have always had the smallHD Focus at the top of the list, while previously using the Atomos Shogun and Ninja Inferno.
That’s why I was pleasantly surprised when I came across the Andycine A6 4K monitor, a sub £200.00 HDMI monitor which would fit perfectly with my filming setup (in this case the Sony a7SII, SmallRig cage, Sennheiser AVX). Let’s take a look at the monitors performance and features.
Andycine A6 Design
Andycine A6 4K monitor with a Sony a7SII and SmallRig cage.
Straight out of the box, I was impressed by the build quality of the monitor. I've used (lets call them) budget monitors in the past and this way surpassed the design and construction of those.
All of the menu and function buttons are accessed by the top of the monitor, and there are three mounting points for the bracket arm, or if you choose to use a ball head. The menu is simple to navigate using the left/right/up/down buttons, although this could be somewhat larger on screen. The image quality is sharp, and the brightness can be adjusted to suit indoor and outdoor filming.
Filming with Ellie Goulding in Switzerland
Modular Filming Setup With The Sony a7SII and Andycine A6
The screen (5.7inch and 1920x1080) itself is brighter than expected, rated at 460nits and 1400:1 contrast ratio, again much brighter than other budget monitors, this is compared to the nearest popular competitor, the smallHD Focus monitor, that is rated at 800nits which has a display resolution of 1280x720 but higher pixel density. When filming in the snow and in bright sunlight, I was pleasantly surprised that I could still preview the image with ease.
Andycine A6 4K monitor interview setup with the Sennheiser AVX.
Built-In Features
The A6 is feature-full, well, the tools that you would expect in a field monitor including;
Focus assist
False colour
Histogram
Over exposure (zebras)
Markers
Frame guides (2.35:1, 1.85:1, 16:9, 15:9, 14:9, 13:9, 4:3)
Anamorphic mode (letterboxes the image)
Audio levels display
There are four function buttons that can be preset to any of the features for quick access.
Usability
Andycine A6 4K monitor with the Sony NPF-750 battery and Sennheiser AVX.
From initial use, I was pleasantly surprised at the battery life. I use the NPF-750 (Sony/SWIT) type batteries with the monitor brightness at 50%. After four hours, the battery life was at 40%, so I’m confident you could get a whole days shooting out of a couple, if not one large NPF battery.
The colour reproduction was accurate for use with the Sony a7SII on this setup, but I would certainly look for a higher quality monitor if shooting in HDR, HLG or with a 10-bit O/P camera.
I did notice two downsides; the position of the HMDI port on the left side isn't convenient if you would like to use additional hot shoe mountable accessories on a cage. Of course there is the option to mount the monitor on the left of a cage and use the built in cold shoe to mount additional accessories like a microphone.
The other downside is that there are no LUT overlays or previews, which would make shooting in Log profiles a bit tricky. For a 4K monitor that is under £200.00, there has to be a shortfall somewhere, but this would be an ideal feature to include in future models.
However, the colour rendition, brightness, build quality, features and of course the price make up for that.
Andycine A6 Accessories
In the box, the A6 monitor comes with a mini HDMI cable, sunshade and bracket arm. If you're hoping to power your camera via the DC output, remember to purchase this accessory separately as it doesn't come with the monitor.
Final Thoughts
Sony a7SII 4K camera rig setup.
If I needed a small monitor and was on a budget, the Andycine A6 4K monitor is a great choice. It is easily rigged into a camera setup and performs as you would hope and expect. The battery life is a winning feature for me, but if you’re looking for LUT overlays, head for the smallHD Focus or Swit S-1053F. The monitor is light, and with a small NPF battery would be a great combination with a gimbal like the Zhiyun Crane 2.
Want to get your hands on the Andycine A6 4K monitor, follow the link to Amazon here.
2018 Has Been The Best Year For APVideo!
We’re celebrating! Not just because it’s Christmas, but because 2018 was our most successful year producing video content in Surrey and Internationally!
Let’s take a look back at what we’ve been up to… First up, CVP Pro Repairs.
Earlier this year we were very excited to release the three videos we produced for CVP, promoting their Pro Repairs department with a rebrand. We worked with the CVP engineers to capture the intricacy and details of deconstructing Cooke cinema prime lenses, stripping the Sony F55, and analyzing the optical performance of lenses in the testing room.
The video content was paramount to the marketing campaign which included showing the 30 second edit before and after every presentation at BSC 2018. We’re really proud of this production, and CVP love it!
The Jockey Club - Epsom Downs Racecourse
At the beginning of the year we also began working with The Jockey Club, in particular Epsom Downs Racecourse to produce a series of fashion based videos to support the Investec Derby campaign. The series featured local milliner, Jessica Rea. We also edited the videos in 16:9 and 1:1 aspect ratios so the videos can be published on a variety of social media platforms.
Preparing for the world class racing at Epsom Downs.
JVC Professional
We embarked on a large studio production for JVC Professional all about their professional video and broadcasting products. Based at South Essex College, we took over the theatrical space and shot the footage for 5 videos that will be used online and at trade shows across the world.
We also collaborated with Atomos, Shape, Bright Tangerine, SoftPanels and Manfrotto to bring the production to life.
Screen Subtitling Systems
We’ve worked with Screen Subtitling Systems for a number of years, producing bespoke animations for a range of their leading global subtitling products and solutions. The products are complex, so animation was the perfect medium to communicate what the products do, and why broadcasters need them.
Additionally, we produced a series of software walkthroughs to demonstrate how to use their ‘WinCaps’ software. The series is based upon screen recordings and voice overs that go through the software operations step by step.
Manfrotto - The Great Outdoors
As part of the global photography and filmmaking equipments Spring marketing strategy, we worked to produce an adventure based video about bushcraft and stand up paddleboarding while demonstrating the use of the new Pro Light Cinematic Expand Backpack.
Don’t use video? You’re missing out.
ZEISS Lenspire
We also collaborated with ZEISS on this production, and reviewed the Milvus Super Speed prime lenses, as well as contributed to their Lenspire blog.
Sandown Park Racecourse - The Jump Finale 2018
We LOVE filming events, so it was really exciting when Sandown Park Racecourse approached us to create an after movie for The Jump Finale Raceday. It’s exhillerating filming live events like this, that’s why producing event video content is our speciality! (We do film conferences, presentations and award ceremonies too).
Shot on Sony a7SII, a6500, Manfotto grip year, Zhiyun Crane 2.
Sandown Park Racecourse - Brigadier Gerard, Apres, Promoting the Coral Eclipse Summer Festival with GB Ladies Hockey Players.
After the success of The Jump Finale 2018 video production, we returned to Sandown Park Racecourse to capture the Brigadier Gerard raceday and the Apres area. To promote the Coral Eclipse Summer Festival we also produced a series of videos with members of the GB Ladies Hockey Team! This was great fun, but a challenge to keep up with the ladies! DJ Reggie Yates gave a sterling set after the racing, he was great to film.
Epsom Downs Racecourse - Investec Derby and Summer Nights Live Music
Continuing our relationship with The Jockey Club, we were asked to film at the world famous Investec Derby 2018. This involved visiting the many areas and attractions of the racecourse and ‘The Hill’, capturing content for sponsorship purposes.
Later that month we also produced four videos to play on the racecourse CCTV and giant screens around the racecourse. This included using archive footage from Derby winners throughout the decades, and creating bespoke animations for iconic moments too.
Fennies - Promotion, Recruitment and the Day of Inspiration
In 2017 we began producing video content for Fennies, a leading nursery group based in the South of England. This summer we were invited back to produce a range of videos to promote the nurseries and it’s facilities, to show their staff in action, and to capture their staff ‘Day of Inpiration’. It’s great fun filming at the nurseries, all of the staff are extremely friendly and the results really work for the nursery group.
KIX18 - Surrey Scouts
Adam is a Scout leader and member of the Surrey Scouts media team. This Summer, Adam travelled with 500 Scouts and leaders to Kandersteg, Switzerland, and captured the journey and adventure all of the young people (and adults) had!
You can read the ‘Sense Of Belonging’ blog post by The Scouts here.
cinema5D - IBC (Amsterdam) and Photokina (Cologne) 2018
We’ve contribued to the worldwide online cinematography and filmmaking website, cinema5D.com for a number of years. Part of the role includes reporting all of the glorious tech news from global trade shows like IBC and Photokina. We produce fast turnaround video edits and articles during the trade shows to ensure cinema5D covers the news extensively and to the highest quality.
Don’t use video? You’re missing out.
Screen Subtitling Systems - Animations Galore!
As it’s written above, we work with Screen Subtitling Systems on a regular basis which includes updating their animations with new products. This animation is core to the global companies marketing and promotion at worldwide tradeshows.
Kempton Park Racecourse - 32Red Winter Festival Stingers
We were over the moon to expand our video productions for The Jockey Club into Kempton Park Racecourse. On Boxing Day and the 27th, Kempton Park Racecourse will play host to the infamous Winter Festival, sponsored by 32Red. We were tasked with producing a range of stings to count down to the festival. The shoot was challenging; a lovely sunny day when we really wanted cloud!
We adapted to meet the racecourses needs by grading the footage and applying effects to give the stings a wintery feel. This was accompanied by custom graphics, again, following the wintery theme.
Yosemite - On Top Of The World
In October we travelled to Yosemite National Park on a collaborative project between APVideo, Manfrotto, ZEISS, Sennheiser, GoPro and Zhiyun-Tech. We wanted to demonstrate how to capture incredible photos and video while having an adventure. We were priviliged in using one of the first ZEISS Batis 2/40 CF lenses available, as well as capturing 360 degree sound using the Sennheiser Ambeo Smart Headset. This project is currently in the post production stage.
APVideo Wins ‘Best Business For Design or Technology’
We are over the moon to have been recognised for our hard work at the business awards! We support both local and global businesses, organizations and events with bespoke video content, and getting the award brought home all of the hard work we put in for our fantastic clients.
The Ashley Centre - Christmas Light Switch On
For the last four years we’ve worked with The Ashley Centre, another local business in Epsom to capture the Christmas Light Switch On. It’s family fun at it’s best with entertainers, the pantomime cast and of course Santa! It’s wonderful to support another local business.
Fennies International - Multi Language Video Poduction
Fennies is expanding internationally, and with that they wanted a narrative based video production with multi language subtitles. From start to finish, we worked closely with the Fennies marketing team to develop the storyboard, narrative content and the creation of the subtitles in both English and Chinese. We provided a range of video delivery options including ‘burnt in’ subtitles in both languages, as well as the subtitle text files for use on online video platforms.
To Review…
As you can see, APVideo has had an incredible year, and we can’t wait for 2019 to start so we can continue the filmmaking adventure. We’re looking to invest into more equipment, expand our team and continue to grow to be the most successful video production company in Surrey.
As well as all of those video productions (and more we can’t share just yet), we’ve also been very grateful to work with our filmmaking friends like Teralon, Warner Vision, JHWF and providing guest lectures and workshops at Kingston University. Collaboration is key in this industry, and we’re always looking to join new teams and crews to produce fantastic content.
So, you’ve seen what we do, let’s work together to create something amazing.
Behind The Scenes
We shoot in 4K, HD, in slow motion. We integrate with your teams, work together, collaborate and have adventures. We experiment, we create, we succeed. We are APVideo and love making video content. If you haven’t got yours, get in touch with us now!
The Making Of 'The Great Outdoors' For Manfrotto
Get behind the scenes with our production for Manfrotto's 'The Great Outdoors' campaign, featuring ZEISS Milvus Super Speed prime lenses and the DJI Mavic Air.
Spring is here, and so are Manfrotto's new backpacks in the form of the Pro Light Cinematic Expand, and Pro Light Cinematic Balance. They are larger than the original Pro Light range which makes them ideal for carrying a plethora of filmmaking gear, in this case the ZEISS Milvus Super Speed prime lenses, DJI Mavic Air and Zhiyun Tech Crane 2.
Checking out the views with the Manfrotto Pro Light Cinematic Expand backpack and ZEISS Milvus Super Speed 1.4/25.
I headed out to the beautiful Surrey Hills to test out the new backpack and absorb the landscapes while out filming. Rich accompanied me to capture some awesome behind the scenes photos and video content too.
We spent a rainy day wandering around Holmbury St Mary and Leith Hill, recce'ing locations for filming that week. Luckily for us, the sun shone through the clouds for our 3 days filming!
Here is the kit list for the shoot:
Sony a7S II (with the SmallRig cage)
Sony a6500
Canon 5D III (BTS stills)
ZEISS Milvus Super Speed Primes (1.4/25, 1.4/35, 1.4/50, 1.4/85)
Zhiyun Crane 2
DJI Mavic Air
Canon 25-105mm F/4
Canon 17-40mm F/4
Samyang 35mm T/1.5
Manfrotto NITRO N8 video head and 535 MPRO tripod
All of the main filming kit fitted into the Manfrotto Pro Light Cinematic Expand.
The range of equipment used in The Great Outdoors filming. Inc Manfrotto NITRO N8, 535 MPRO, ZEISS Milvus Super Speed Primes
Choosing The Surrey Hills Locations
We captured some fantastic shots around the hills, featuring well known beauty spots like Leith Hill. Going on an adventure around familiar and unfamiliar territory, capturing the environment and landscapes that surrounded us was a great way to test the kit.
To add to the narrative of the production, Scott from The Surrey Hills Adventure Company invited us to the lagoon where he instructs SUP (stand up paddleboarding) as well as bushcraft, to shoot some material there. The weather wasn't the best, but Scott headed out on the paddleboard which made for some great aerial shots.
The sharpness of the ZEISS Milvus Super Speed 85mm was ideal for getting shots of the boat house, which was deliberately framed like a Wes Anderson shot!
Scott from The Surrey Hills Adventure Company taking his SUP for a spin.
The ZEISS Milvus Super Speed Primes have a constant aperture of F/1.4 and can have the gear ring attached for use with a follow focus system. The lenses are of incredible visual quality (rendering 6K plus resolution images), and were ideal for filming on the Sony a7S II with the Sigma MC-11 adapter. I rigged up the camera and lens in the Small Rig cage, and attached the Manfrotto Follow Focus too, for precise focus pulling control at wide apertures.
The gear ring attached to the ZEISS Milvus 1.4/85 for a Manfrotto follow focus unit
For the silky smooth motion shots, the a7SII was rigged up with the Zhiyun Tech Crane 2, and even with the heavy ZEISS Milvus lenses, the gimbal performed very well (upon balancing correctly). The stabilised sensor aids greatly to reduce the up and down motion of walking, with the Crane 2 keeping everything else lovely and steady. As a handheld gimbal, I cannot recommend it enough.
Working With The DJI Mavic Air
I had the opportunity to shoot some lovely aerials around the area too on the DJI Mavic Air. This is my first little drone venture and is fantastic fun. The Fly More combo has enough batteries for between 45 minutes and 1 hours and comes with a nice carry bag too. I've managed to fit the drone, 3 batteries, controller and a set of Polar Pro ND filters in there too.
The DJI Mavic Air is a fantastic addition to the kit bag (Manfrotto Pro Light Cinematic Expand), and fits into the bag very well!
By the way, those Polar Pro ND filters are really needed to keep the shutter at 1/50 or 1/100 for slow mo. I've set the drone to Cinelike-D profile with reduced contrast, and then applying an S-like curve in post to bring back the colour and contrast. Shooting in 4K and 2.5K resolutions is great for post-production flexibility, when delivering a HD sequence.
Another technique to improve the colour richness, especially in the sky is to export the Mavic Air footage from your NLE as a PNG sequence, and then import it into Lightroom to apply the 'Dehaze' tool, which makes the colours more vibrant. It's a bit of a round-trip, but this effect/feature isn't available in Premiere Pro CC, yet.
One downside to the DJI Mavic Air is that the shadows are quite noisy, even when the image is exposed well, so keep an eye out for that. Below are some of the outtake drone shots of the Surrey Hills from the campaign.
The edit was where the story of 'The Great Outdoors' was to be built, and with some voice over recording and subtle soundtrack, the first part of the video began to come together. There was a lot to say about the shoot and the Pro Light Cinematic Expand backpack, in such a short amount of time. The visuals had to tell the story more than just what I was saying.
Rather than making the campaign video just a review, I chose to make the second part of the video different; changing the soundtrack and pace. This part was showing what you can do with the kit, what you can create and what stories you can tell.
I must say a massive thank you to Rich Tarr who accompanied myself on this production, capturing the BTS photos and video content. Without him, this couldn't have been possible! Also to Scott from The SHAC, if you're into outdoors, seriously check them out!
Rich Tarr, BTS producer
Rich getting back to basics
My verdict on the Pro Light Cinematic Expand? It's come with me for every shoot since this campaign. It's large and comfortable enough to carry a two camera setup with a set of 4/5 lenses and a telephoto. There is always extra room for mics and clamps, stands and the like by expanding the bag or making use of the quick access pockets. Try the bag out for yourself, it really suited my filming kit choice.
Overall, the campaign had a great reception and myself, Rich and Scott were really pleased with the result. To add to that, ZEISS will also be featuring a blog post and unique video about using the Milvus Super Speed prime lenses on their LENSPIRE website, so keep an eye out for that soon!
If you've got any questions about the Manfrotto Pro Light Cinematic Expand, filming with the ZEISS Milvus Super Speeds, flying with the DJI Mavic Air, then just get in touch!
Zhiyun-Tech Crane 2: The Best Hand Held Gimbal Out There?
Zhiyun-Tech has taken the indie film world by storm over the last year. Their products are affordable and produce results that can be easily compared to much more costly gimbal systems. I've been using the Crane 2 for months now, here is my experience of using it.
Note: I am a Sony shooter so won't be looking in depth at the capabilities of the Crane 2 with other manufacturers, I have done some follow focus tests with the Canon 5D III as an example.
Feature wise, the Zhiyun Tech Crane 2 packs much more into the gimbal than the Crane 1 and Crane v2 combined. It's increased payload means that shooters using Canon 5D's or Sony a7's with Metabones adapters can comfortably operate the gimbal with less stress on the motors. I've even seen Canon cinema cameras, RED cameras and Sony FS5's rigged on them!
Using the Zhiyun Crane 2 while filming for Manfrotto
A brand new feature is the follow focus, in which I've seen some great examples of Crane 2 operators pulling and tracking focus on moving subjects. Zhiyun Tech has since updated the gimbal firmware so that a number of the camera control features are now available when filming on Canon, Sony, Nikon and Panasonic cameras!
The biggest improvement for me has been using a Manfrotto standard quick release plate, that simply slides on and off the gimbal. It means you can go from filming on a tripod or monopod straight onto the Crane 2. No hassle, no screws to undo and then re-balance the gimbal. It's simple, and it works.
On a recent shoot, I swapped between filming with the Sony a7S II and Sony a6500 on the Crane 2, which was ideal!
Dual handles for the Crane 2 allow for more accessories such as a monitor or microphone to be added to the setup. There is also a follow focus unit now available too, that hooks up to the focus wheel on the handle. For more info about the gimbal and accessories, check out the product page here.
I use the Zhiyun Crane 2 on pretty much all of my video shoots, and combining it with 4K or slow motion really adds a level of production value that I hadn't been able to achieve before. Check out the next blog on the making of 'The Great Outdoors' for more gimbal action with the ZEISS Milvus Super Speed Primes!
'The F Word' Kingston University Creative Technologies Guest Lecture
Here at APVideo we are advocates for the growth and development of new members in the creative industries, students being one aspect of this. We occasionally guest lecture for the Creative Technologies courses at Kingston University.
The F Word Creative Technologies Guest Lecture at Kingston University
Here are the lecture notes and podcast entitled 'The F Word'. Can you guess what the F word is?
You probably guessed it, freelancing was the topic of the guest lecture at Kingston University for students in the 'Creative Technologies' courses. I graduated in Television and Video Tech (a course that is sadly no longer running) back in 2013/14, and since then freelancing has been a big part of the journey I'm currently on.
I showed a number of films that I worked on, including the BTS film for 'OSTRICH' which was created to promote the Tokina Cinema Lenses;
More recently, I worked with HaZ Dulull on his latest feature entitled 'The Beyond';
Later in the lecture, I showed a diagram that a TV producer showed me on a packed DLR train after BVE a couple of years ago. It's a graphical way of working out the steps to get to where you want to be, whether that is for work or for creativity. I've called it 'The 4 stages of career development and creative enlightenment!'
The 4 stages of career development and creative enlightenment!
Enjoy the podcast and videos, it was great to go back again and I look forward to the workshops that are in the plans.
The Manfrotto Manhattan Mover-50 Backpack Review
Prime Lenses for Sony E Mount Cameras? ZEISS Loxia Prime Lens Review
Movement For Video: Sliders, Gimbals and More!
From Conferences to Award Ceremonies, Filming Events; My Tips and Tricks
From Conferences to Award Ceremonies, Filming Events; My Tips and Tricks
The awards ceremony was part of the event video coverage.
Filming and videography for business conferences, presentations or award ceremonies are a staple of the work calendar, but how can you turn a rather simple event into a video people will want to watch?
I take a look at the techniques, tips and tricks I use when capturing events with video, often with a same day turnaround.
Be Minimal With Equipment
You’ve all probably seen the ‘what’s in my kit bag’ photos and videos, and yes it’s fantastic to have a variety of lenses, camera bodies, microphones and other kit for any job that could come around the corner. However, I’ve found that having a minimalist approach to equipment is necessary for event coverage. For this shoot, I used the Sony a7S, in the Movcam cage.
For lenses, a standard zoom lens like a 24-70mm covers wide establishing shots of the location, audience or stage, as well as closer mid shots, possibly of details such as the event branding, or for interviews with attendees. A telephoto lens, or a prime is a great additional lens to have for closer shots of the subjects, or needing a shallow depth of field, or more light in darker scenarios. I also used the Samyang 35mm T/1.5 and 85mm T/1.5.
A sturdy tripod with a fluid video head will give you steady shots, with smooth panning and tilting for some additional movement. Even a small tripod like the Manfrotto Befree Live is a fantastic option that can be easily carried around and used at any time. Having a tripod for interviews is also key, to keep the viewers’ attention on the interviewee. The Manfrotto 755 CX 3 accompanied myself on this shoot.
Sound is often at the bottom of the pile, but many options for small and high quality microphones are out there, like the Rode VideoMicro. Whether it’s capturing some dialogue from a presentation, or an interview, what you hear builds up the atmosphere of what you see in the video. I’d also recommend a Sennheiser AVX lavalier (clip on) microphone for interviews too.
An LED light can be a lifesaver if you’re filming in a dark environment, they are small and often have a bi-colour option to adjust the colour temperature. The last thing you would want to do is crank up the cameras ISO, resulting in a noisy image when you could have used a light. The LYKOS LED lights are very portable, but for something smaller the SPECTRA lights are a good choice.
Hand held gimbals and stabilizers are now smaller and more affordable than ever before, and give a unique dynamic to shots with movement. Using a gimbal or a slider is a great choice to up the production value of the videos.
Lastly, a bag to store all that kit! There are plenty of choices or styles to choose from, whether you need quick access, or to store other kit like a drone. My bag of choice is the Pro Light 35, as its small enough to fit all of my video kit in, and very comfortable.
The Manfrotto Pro Light 35 backpack stored all the necessary equipment for the event filming and editing.
Plan, Plan, Plan
Get to know the ins and outs of the event, what is happening throughout the day, any key moments you need to capture, and plan time for editing if you have a same day delivery for the video. At a recent event, I would shoot some video material and interviews for an hour, then import the footage ready to be edited.
Get any details from the event organizers about timings, as well as the names of any interviewees which might be needed for lower 3rd graphics later on.
Know Your Workflow
When you’re filming, a rule of thumb I use is to capture plenty of b-roll, or additional shots that can be used to add to the ‘story’ you’re going to tell through the video. Whether its shots of the audience, location, or little details like logos and branding, they can all save you in the edit when you need a cut point, or to add variety, rather than a fixed camera shot of the stage.
Filming lots of alternative angles using wide and telephoto lenses.
Create a file structure for when you import all your footage; it keeps everything organized when it comes to editing and backing up the project. It might be files for interviews, conference parts, establishing shots, for example.
When you’re editing, using sequence templates will also speed up the editing process too. You could create a sequence with a title graphic at the beginning, a lower 3rd graphic for an interview piece, and the end credit graphic at the end. All you would need to do then is drop in your footage, cut it together and then export it.
This process is particularly handy for same day editing, when time is limited to complete edits.
Over Deliver on Expectations
I shot plenty of location b-roll at the St Regis Bal Harbour Hotel, North Beach, Miami. Taken on the Sony a7S and Samyang 35mm T/1.5
Lastly and most importantly, creating a good video that the client likes is great; you’ve completed your brief. However to really wow your client, give a little extra to the videos you make, whether it’s a timelapse, working a little later than intended or delivering more videos. That little bit extra could make the client choose you for the next event they put on.
Sunrise on North Beach, taken on the Sony a7S and Tamron 24-70 F/2.8
Filming With The Manfrotto LYKOS LED Lights In The Shard
The Manfrotto LYKOS LED lights are the latest light fixtures in my arsenal, much smaller than, and just as powerful as their 1x1 models that I've used in the past. Surface mount LEDs have increased the power output and reduced the size, meaning you can easily carry a 3 point lighting setup and nano stands in a backpack or grip bag.
They run off conventional NP-F batteries, D-tap or AC power. Using widely available batteries (rather than only mains or AA batteries) make using the lights much easier on location. They'll run for 1 hour 25 minutes continuously on an NP-F750 before the battery shows as empty on the display. I powered the light back up and continued timing to see how much more juice could be used, I only got another 5 minutes max. They don't have a hot swapping battery option so if a battery runs out, the light powers down while the battery is replaced.
A killer feature is the Bluetooth control via an app, which can adjust the power, brightness and colour temperature. This works by using the Bluetooth dongle and pairing the lights to an iPhone through the LYKOS app, and can control from 1 to 16 units for larger remote setups.
I used the LYKOS lights on a recent video shoot in the shard for Surrey Scout Media. On the 22nd floor I set up two LYKOS on nano stands in an office with a glorious London skyline in the background. With golden hour approaching, the summer sun beamed through the huge Windows. I had a wonderful back light, wonderful view, but would the lights hold up against the sunlight?
Positioned close to the subject and composing the shot on a 35mm prime, it was easy to adjust the light intensity for the desired exposure. Combating the bright setting sun was difficult and I could have done with a reflector, but live and learn!
The lights have a wide beam angle (50 degrees) but give off a soft, wrapping wash around the subject. The high CRI (93) also gave pleasant skin tones without a green shift in the tint, which is sometimes apparent in other LED lights.
At the end of the shoot the lights and stands were packed quickly away into the Off Road Backpack, ready to navigate rush hour underground in London.
Here's the final video, promoting a Surrey Scouts event in 2017 -
The Manfrotto LYKOS LED lights performed above my expectation for lights of their size. Being able to add in soft key lights against bright sunlight confirmed those expectations. If I had another light, I would have banked the two together for a stronger light source, but I only had two on me at the time. For a portable lighting kit you can't go wrong with a set, the bi-colour model offers more flexibility with adjusting to a number of locations too.