Update from Adam!

It has been a very busy couple of weeks since BVE, which by the way was great this year. I was over the moon to see the new finalized range of Manfrotto LED Spectra light panels which I got to test out a couple of years ago. Seeing products develop over a long period of time is interesting, even more so when your opinion is considered in how the final product should perform. Manfrotto also had their re-designed SIMPLA rig to demo, a much lighter and more ergonomic model I must say which is compatible with 15mm rig accessories like their matte box and electronic remote control.

As well as that, Manfrotto have also joined forces with Schneider Kreuznach optics (page in German), who have a new range of cinema lenses, specifically designed with ease of use in mind. All of the lenses from 24mm to 135mm have the same filter size, length and focus rotation to make filming with a range of the lenses effortless, simply change the lens and your peripherals stay in position. The optics of the lenses blew me away. Even in the well lit Excel, the background bokeh was stunning, soft yet so crisp. I cannot wait to get my hands on them. I think the combination of the new Manfrotto 055 tripod, the SIMPLA rig and Schneider glass will be a killer cine kit, delivering incredible visuals, making your shoot run smoothly, and at a low cost. Give it a year and this will be the go to package for production rentals, and part of every kit bag.

In other news, I've been working with EEBC on a couple of projects; a short video on recycling and another about a Wellbeing centre for those suffering with dementia and their carers. Both projects have messages that are close to me, so I've been working hard to blow my clients expectations out of the water. For the recycling video, I'm combining video with animation to show why recycling food and material waste is ever more important today; generating renewable electricity and resources. The Wellbeing centre video will be live action video, featuring the range of activities available to those in the community as well as the vast benefits to carers and visitors to the centre.

So, busy busy at the moment. I'm also meeting some designers from the fashion label ACF (Art Comes First) next week about another video featuring the design process here in London. Very exciting, I've been patiently waiting for an art-collaboration project to come along, it's what I started the business for!

I've had no #videoquestions for a while, so remember to keep them coming to @Plowman91!

Remember, inspiration is everywhere so take your camera with you!

EDIT!!!! Just remembered to include this, I spoke to an un-named informant about the new Samyang/Rokinon VDSLR cine lenses and whether any new models are going to be released. Our brief chat resulted in confirming rumours of a 50mm and 135mm cine lenses coming very soon! I think it's exactly what the lens range needs, and I will certainly be investing in the 135mm if it is at T/2.2, or pushing it at T/1.8 would be a dream come true. So hear my thoughts Samyang/Rokinon!

All new #VideoQuestions is live!

[https://vimeo.com/88655235]

Todays VideoQuestions - Image Stabilization

Image stabilization, vibration control, optical stabilization or whatever you wish to call it is an -in lens- operation that reduces pan and tilt vibrations and shake that would blur the captured image. It works by using electromagnets to align a floating lens element, which corrects the shake and vibration over the two axis; left and right, up and down. Image stabilization is included in a range of lenses from manufacturers, but you will notice the heftier price tag in comparison to a non-IS version due to the extra element in the lens. I will try to clarify the importance of using IS when you're out filming, and why I use IS lenses for my work.

The Canon 70-200mm F/4 without IS = £519

This Canon 70-200mm F/4 with IS = £894

When choosing your camera body, tripod, mic and all of the other accessories that seem to be required for DSLR videography, one of the hardest will be choosing the right lenses for what work you would like to do, to cover a wide range of focal lengths and apertures, and how much money you want to spend. All three of those points will affect each other in your final purchase choice, but I hope to help narrow down your choices.

What will you be filming?

One key point to consider, as if you are filming live action sports you will require a different set of tools compared to model and fashion videos. Both however will benefit from at least one IS lens in your kit bag. I work in many different areas and styles of videography, so the kit I carry is an all round solution to whether I'll be at the back of a conference hall, or only centimeters away from my subject so being prepared before you know what you are shooting on the day is key - also where IS lenses come in handy!

It isn't recommended to use Image Stabilization when you are filming on a tripod as this can cause frame-by-frame jitter, where the lens attempts to correct smooth movement. But for all the times the camera is not on a steady support like a tripod, having IS will correct any major shake and blurring that occurs in the lens.

So, imagine holding the camera on a monopod with a lens and then tilting or panning. Inherently some shaking will occur from you moving the camera. Depending on your focal length or how far you have zoomed in, this will also multiply the visible blur, also remember DSLR's rolling shutter which will also be added too if you're not careful! Is that too much to think about when shooting video? Yeah it sure is. But having an IS lens will correct a good portion of the errors.

Another great example is sports, and running and gunning with the camera (wedding videography for example) where you are moving around a lot.

What focal lengths are you working with?

IS lenses come in a range of focal lengths; the standards are the 24-70 range and 70-200 range. If you are working with subjects closer to you, in the wide and portrait range, then having a 24-70mm with IS can be operated pretty well hand-held or on a monopod (I'd always recommend using at least one support method to achieve steady shots, either a tripod, monopod, rig etc). However if you are going to be further away from your subject then the longer focal length of 70-200 will work better for your needs.

The focal ranges in between the wide and telephoto can be achieved either by zooming, or by using prime lenses which traditionally do not have IS so will have more shake regardless of your mounting or grip method.

Price

You will have to pay more for an IS lens, it is an additional function that works to correct the image before it is recorded, but it is worth the cost. You may only end up purchasing one lens with IS, but I recommend choosing the lens you will use the most to future-proof your purchase.

Models of Lenses and Manufacturers

Presumably, if you are filming on a DSLR you'll have a Canon body with an EF-mount for the lenses. Canon manufacture very high quality L series lenses with IS, but if you are starting out in this game they will blow your budget immediately. 3rd party manufacturers like Sigma, Tamron, Tokina and Samyang produce incredible quality lenses too, and just because they aren't Canon doesn't mean you can't use them with the camera you have; many 3rd parties allow you to choose the correct lens mount for the camera.

I went down this route when choosing my new equipment, and after plenty of testing and research I chose the Tamron 24-70 F/2.8 VC and the Sigma 70-200 F/2.8 OS, and for me they perform outstandingly.

In many cases you will be using an APS-C size sensor camera like the 60D, 600D, 70D which also have their own range of lenses that are considerably cheaper than their full-frame brothers, some that I have worked with in the past that I can recommend are -

Budget solution - Tamron 17-50mm F/2.8 VCNext best thing if you have the money - Canon 17-55 F/2.8 IS

For a longer focal length, above 100mm you'll have to dig a little deeper in your pocket to get a good quality lens with IS. I did purchase this lens when I started, but because I purchased the NON-OS version it has pretty much been gathering dust in my bag, as at 200mm the image was too shaky and had quite a bit of chromatic aberration. Sigma 18-200 F3.5 to 6.3.. a semi pointless purchase for me, so follow this lesson!

How does using a steadicam affect the stabilization?

Good question. A steadicam is a device that counter balances the weight of the camera and lens to achieve a smooth flowing motion to movement, and takes lots of practice. Using a stabilizer won't imitate image stabilization, or make the image less shaky - so to speak. This depends on the lenses you are using, how fast you are moving and the experience of the steadicam operator. Using an IS lens on a steadicam will certainly correct shake over the two axis, but a steadicam works on 3 axis so shake and blur is inherent unless you shoot at a higher frame rate or apply stabilization correction in post production.

I tend to shoot most of my steadicam footage at 50fps, capturing double the frames which when played back in slow motion smooths out any jitter or quick movement. Shooting in slow motion is a really cool and creative tool, so it is worth playing around with, but remember you will be recording at a lower resolution of 720p, not 1080p (darn you Canon hurry up and give me this!!).

I shot the example material today, so will top and tail the clips and get them up tomorrow, so watch this space!

Conclusion

Get a lens with IS, or VC or OS as your standard, go-to lens. If you're going to use a steadicam too, having stabilization on a wide angle lens will be doubly effective and means less stabilization in post!

How do you make a timelapse? Video Questions

Finally got round to this!! A time lapse is a method of photography and videography that captures sequential images from a static camera over a certain period of time, and then sped up in post production to create the illusion of time moving fast.

There are so many reasons why you'd want to use time lapses in your work; from establishing locations to capturing a long event like the northern lights or sunrises and sunsets. Time lapses create a visual spectacle in which time speeds up, you see nature at work and things you would normally miss or take for granted.

If you want to check out some awesome time lapse films, please watch Ron Fricke's Samsara which includes awe inspiring cinematography captured in 70mm film.

http://www.youtube.com/watch?v=P0xVp3N-M84

There are a couple of ways you can create a time lapse, dependent on the length of time you wish to capture, the changing exposure settings of the location, and the kit you have.

Cameras and Kit

I assume that most people interested in this post own a DSLR or video camera of some kind, as it is difficult to capture a time lapse otherwise. In all honesty, what model of camera you use won't make a big difference on the overall video. Whether it is a Canon 110D, 550D or 1D-C, Nikon D3200 or D90, Sony A-7 or Olympus OM-D EM1 your photos and video will look great. Just make sure you have your exposure and focus point set correctly. In regards to what lens you use, in general wide angle lenses give a better perspective of the environment; we've all seen GoPro videos, that is ultra wide, but you don't need a fish eye or specific lenses to do this. Usually the standard kit lens that comes with your camera has a wide angle, whether it be 11mm on MFT cameras or 16mm on full frame, keeping a wide field of view is key to achieving the perspective of a time lapse.

Lets start with time. The longer you wish to capture, the more memory and battery you will need so ensure you've got a fresh card and charged batteries, or even better a battery grip. Depending on what camera you are using you may also need an intervalometer; a device that plugs into the camera and releases the shutter for a pre-set duration at a pre-set interval.

Here's one made by Canon -

So, if you wanted to capture a sunset, you will be shooting for a couple of hours. This little device will release the shutter and take a picture for you, however you need to set the interval duration. The longer the interval, the greater the difference between each image as the objects in the frame move and change. For a sunrise or sunset, an interval of 10 seconds should suffice, as the sun and clouds move slowly.

If you were in a city shooting a TL of a busy public place, a shorter interval should be used so the objects or people move smoothly through the frame and don't jump around.

What are you capturing?

Where will you be shooting the time lapse? Bright daylight at the beach, or in arctic winter? Or star trails and fireworks at night? Your DSLR's shutter speed will allow you to control the amount of time the shutter is exposed to light, so a longer shutter speed (anything under 1/30 can be used when the sun or bright light is not available) should be used at night when light levels are low. You can also use the BULB setting I believe to capture exposures longer than 30 seconds if you are capturing star trails.In the opposite situation, you can set your shutter to a reasonable speed depending on the light available; but remember changing light is inevitable and uncontrollable in nature so using shutter priority mode (T) or aperture priority mode (A).

REMEMBER YOUR TRIPOD! Shooting for long periods of time need a steady support, to keep the camera locked off and weighed down if needs be! My Manfrotto tripods work a treat.

Experiment and test at the time to judge your exposure settings. Keep your aperture or F stop small so that all objects in the frame are in focus; something like F/11 down to F/22 if in bright light or you can increase the aperture to F/4 up to F/2.8 if you're working at night. Increasing your ISO to 1000 or 1250 is perfectly fine if your doing a night-lapse, so no worries about that.

Also use the digital zooming capabilities on the camera to get critical focus on a key static point.

If you have less time for a time lapse, then you can always hit record on your camera and film continuously for as long as it can. This is an easy option for those out and about shooting as you can simply wait for 10 minutes or so. Obviously here you have the time restriction to only 10 minutes, so this works best for short burst time lapses of clouds, people & crowds and quick changing landscapes.

For any other setting it would be better to use an invervalometer, mainly as keeping your camera recording will suck the juice out of your battery like anything.

For savvy videographers and photographers alike who may have Magic Lantern already, there is an intervalometer built into the ML firmware which acts just like an internal one. If you don't want to pay for an external device then Magic Lantern which is open source and free is your best option. Plus having ML on your camera expands its video capabilities greatly.

Post Production - If you have taken a series of photos

You've captured an amazing sunset, it has taken you hours and all you want to do is see the finished product. Some methods of editing time lapses are long, boring and not neccessary; taking the photos into After Effects for example, its not needed!

Adobe Premiere Pro is a much simpler and quicker method of getting your TL into a video. Firstly, create your project as you would normally, setting scratch disks to your project folder where the photos are stored. Next, create a sequence dependent on what resolution you would like the video to be. Nearly all photos taken on a DSLR are larger in size than 1080p high definition, so this is a good place to start.

Depending on where you are in the world, your frame rate should be 25fps for UK/EU/Rest of world, or 30fps for USA. This will play your video back at the same frame rate as television and internet, so the time lapse will be smooth.

Now you have your sequence open in the timeline, go to Edit>Preferences>General. Here you can set the default 'still frame' (picture) duration to ONE frame; in timecode this will appear like: 00:00:00:01. This sets the sequence of images to play one after the other with 25 pictures in each second.

Now you are ready to import your photos! Simply Ctrl-I or Cmd-I to open the import window, select the folder with your time lapse images and click 'Import Folder'. Premiere will now import all the photos in the folder and set the duration. You can now simply drag the folder with the photos into the sequence, and your time lapse is now a video. Make sure you render (hit Enter) and watch it back in case you need to correct any frames.

If it looks like the photos are going too quickly, you can change the duration of all the photos very simply; select all the photos in the sequence, right click > Speed/Duration. Here you can increase the frame duration from 00:00:00:01 to 02 frames instead. Here you will need to see what suits your time lapse best. One last tip is to highlight/select all the photos in the sequence, right click, and click 'Frame Blend'. This calculates the interpolation (movement) of subjects between two images, so it fills in the gaps so to speak.

Post Production - Long Video Files

So you've taken the easy road! This method is just as simple as above, and is a quick way of processing a short time lapse. Once you have followed the steps to create your sequence, you can import the video file like you would the photos, instead you simply click the video file needed and click 'Import'. Then drag the video file into the sequence; here if you have been videoing in a different video format Premiere will let you know that the video and the sequence do not match. It is easier to stick with the format of your original video, so if this happens click 'Change Sequence Settings'.

With the video now in the timeline, right click and click 'Speed/Duration'. Here you can increase the speed % to make it faster, and again will need some experimenting to see which looks the best. Remember the higher the speed increase percentage, the faster the time lapse happens.

Colour Correcting

You can add any colour correction to the time lapse by creating an 'Adjustment Layer' and adding brightness and contrast, curves, levels, tint, whatever you like to make the time lapse look great.

For a 'tilt-shift effect - like the incredible New York Sandbox video you will need to use additional plug ins like Magic Bullet, or add the effect in Photoshop before importing to premiere.

http://www.youtube.com/watch?v=Fk9EBOOAYiU

Exporting - finally creating the time lapse video!

Once you are all done, with the sequence selected go to File>Export. If you are uploading to the web, then the H.264 format will work the best for quality and compression. From the drop down menu select H.264 and the Vimeo, Youtube or any other format you wish. There are loads, and plenty of confusing settings so don't get bogged down in the different types for now. When you think you are ready, and have chosen your file destination and name, you can hit 'Export', or if you wish to carry on working in Premiere on another project you can 'Queue' to export to Adobe Media Encoder which will export it in the background!

[youtube=http://youtu.be/QMwpA02IKdI]

A little example of a video time lapse I shot at Epsom Downs!

I hope this covers your time lapse photography and videography questions? If there is anything I've missed or if you have other questions please send them in!

[contact-form][contact-field label='Name' type='name' required='1'/][contact-field label='Comment' type='textarea' required='1'/][/contact-form]

Manic at Adam Plowden Video HQ!

Its been incredibly busy over the last few weeks, so apologies for not posting for a while! Lets fill you in. February has been a tough month. Work as been here and there, it is always difficult at this time of year and made even more difficult by starting a new business. I expected a lull at the beginning, so not to lose hope I kept myself busy. Although I haven't been posting, I have been out filming all the time, especially these last couple of days.

Rotolight sent down their awesome ring light and roto-mic, which I have been testing out and reviewing in what feels like all weather conditions! One minute it is sunny, the next it is bucketing it down. A couple of times I got stranded in the downpours with my kit, a prolific moment was this, up in a quiet and forgotten playground near Epsom Downs. I only got 3 shots that day, then the rain came and we retreated.

Since then, the weather has picked up, and so has the tempo of production! I got an email from Rotolight asking if its possible to put a short video together for BVE with the footage I got when using the roto-mic and ring light. Feeling up for a challenge I accepted, and have been busy producing a music video to coincide with the video for BVE! I reeled in one of my good mates Josh McDonough is an awesome musician and producer, currently working on a new studio build to perform in the video, and in return he can have the music video to kick start his recording-producing business.

To show how you can maximize the creativity and convey the flexibility of the Rotolight Sound and Light kit, I used various techniques including mounting on a camera, hand held, and playing with the light to create unique blooming and light effects. I had a few ideas of what the visuals would look like, an intimate piece to camera in the soon to be studio, as well as getting out and using the light in low light situations to add an urban feel.

There will be much more later, but right now I need to continue with the editing and graphics for the Rotolight video!

Awesome day at Warner Bro's Studios for BSC Expo!

It's been a great day at the BSC Expo; based at Warner Bro's Studios Leavesden the expo features the worlds newest and best cinematography technology and workflow solutions. The journey was easy, I flew by Wycombe to pick up Glen and we made our way to the studios, then walked to C stage. We could see the Harry Potter studio tours in J and K on the other side of the lot, but it was huge!

We took a slow stroll around the stands, it was great to see Rotolight who produce LED lights for photo and video. Their 'Rotolight' product is incredible for a pocket beauty light; due to its circular design the light gives soft overall coverage of the subject, and for models its perfect for achieving a ring of light in their eyes. As well as that, they have developed their own on camera microphone too, giving photographers and videographers alike an entry package, I'm very happy to see this!

The RED stand had the RED DRAGON on display, demoing the 6K, wireless focus and zoom, touch-control monitor.. I can't wait til shoot with a RED package, think it will be be some time though!

The Panavision motorized camera axis was a jaw dropper too, I was so interested due to planning on constructing my own as a DSLR gimbal solution. There is no way I could achieve the precision and accuracy of this device, but with some smooth stepper motors it is completely possible! (If you can't buy it, then try making your own; it worked for me with a camera jib and camera rig!).

And no, we weren't at the Harry Potter Studio tour...

As Bucks New Uni is on the way back to Surrey for me, we stopped by Wycombe for a drink in the SU, the last time I was there we were completely smashed.. "F****ng absinthe death" aye Glen!!

Awesome day, so happy I got to see Glen too, thought I was going to have to wait until March!

For those interested in visiting BSC: GO, it is a great expo completely for cinematography so think cameras, lenses, grip (steadicam, jibs, cars etc), lighting (and plenty of great LED innovations from Digital Sputnik and Chroma Q) so definitely check it out!

Quiet Sunshine

http://vimeo.com/84790518

Capturing local beauty

Film making and videography isn't all about big budget productions with expensive kit. Its great to take time out to see what stories you can tell and images you can capture in your local area. Luckily for me, I live in Surrey which is full of green spaces. My chosen location for today's adventure was Epsom Common, I used to and hope to continue fishing at the lake. Since being a kid I remember it being a beautiful place in the winter, so despite the recent flooding I made my way down!

Accompanied by the awesome Manfrotto 055 Carbon Fiber tripod and 055AH video head; my grip was sorted in a lightweight solution. I took my whole kit bag in case I wanted to record some foley audio or shoot on a range of lenses. I tried to stick to the Samyang Cine lenses I have (14mm, 35mm, 85mm), so I can test them out on a range of shoots. I also came across a 72mm variable ND filter that fits onto the Samyang 85mm, which means I can achieve T/1.5 and a beautiful bokeh in broad daylight.

As you may have previously read, I also installed some new picture styles on my camera from VisionColor, today I used Cinelook to see what the footage looks like out of camera, without grading. So far, without adjustment the picture was punchy with a good colour tone present, not flat and neutral like I previously used. It certainly has given the footage a baked in 'look' while recording which will definitely speed up the post-production process.

It was great being in the outdoors, I often spend way too much time on the computer and neglect our very green, rural backyard, which deserves to be appreciated, remembered and captured in moving image.

I've processed all of the footage now, using most of what I shot. It is simply put to music, in this case the serene 1:1 by Brian Eno, which was very fitting for the scene. I have applied no colour correction, grading or effects to the clips whatsoever, to demonstrate the cinematography at hand.

I will post the link up later!

I hope you like it, and please share around!!

Manfrotto Backpack50 Video.. It's taken its time!

I've finally got around to working on the Manfrotto Backpack50 product video that I shot back in November with Glen and Sam. I made the most of the beautiful 'golden hour' to capture unique images of the product in use. The shoot location was our usual hotspot for kit testing; Epsom Downs.

The Backpack50 is an insanely good bag, dedicated to protecting your prized possessions and increasing your productivity when out on a photo or video shoot. Aimed at both professional videographers and photographers; the bag features plenty of space for multiple camera bodies, lenses and telephoto lenses. For the on-the-go editor, you can also carry a laptop and a tablet with you, as well as strapping on a tripod. Your complete equipment in one bag. One solution.

I'm editing the footage in Premiere Pro, to achieve that awesome bokeh I used a Nikor 50mm F/1.4 manual lens and shot handheld, so I will be applying some stabilization to those shots. Because of the strong sunlight, I worked with that light to determine the exposure of my subject, Glen. Essentially putting him in a silhouette, defining his and the backpacks shape. For the ambient settings I was working with, I believe this worked well, and is a good technique to try when shooting in the golden hour!

However, when working with low contrast ratios (number of stops between black and white) it is easy to over or under expose parts of the image, which not only burns in detail but can cause problems when encoding and playing back the video, so remember to check your reference monitors and keep to legal limits!

More to come later!

Video on the Canon 5DmkIII and Samyang Cine Lenses

Many of you intrepid videographers may have come across a unique range of VDSLR Cine lenses from Samyang (Rokinon/Walimex) depending on your region. Have you had thoughts to invest in one, or a whole range of them? Focusing on video, having electronic focusing and aperture is not essential for me, and in fact gives more control over the light entering the lens due to the de-clicked aperture. You can create smooth transitions between light and dark situations with ease by pulling the aperture.

As I've only just got the 5DmkIII and cine lenses, I thought it would be a good idea to test the kit out individually; producing a short video of the results.

I began on the Samyang 14mm T/3.1, an ultra-wide lens that does have barrel distortion if subjects or distinct lines move towards the sides of the frame. Operating the camera handheld on the MODA rig, I was not left much choice but to capture the video in 720p 50 frames per second, to eliminate obvious camera shake. This did work in my favor come later in the day when I was hanging out of a car boot filming!

To exaggerate the ultra-wide effect, getting close to the ground, walls or your subject will show how wide the image actually is, while offering exquisite sharpness throughout the depth of the image. Moving while operating an ultra-wide also gives a unique changing perspective to the viewer; one that is appealing due to it looking unnatural to our eyes - a great effect for establishing locations in film.

What I did notice was a very strong contrast, even when shooting in Neutral picture style (for a flatter image). This is causing issues in post due to burnt in detail in the highlights and shadows.. So I have adjusted the picture style to my needs by reducing all of the parameters to the lowest level.

Overall, I am ecstatic to finally get my hands on an ultra-wide as I had no way of achieving that perspective with my old kit.

My tips would be to keep the camera stable - use a tripod, shoulder rig or steadicam to operate the camera. This gives you better control and steady visuals that won't distract the viewer from the awesome visuals.

Judge your highlights and shadows correctly - this is a manual lens, so remember it is easy to stop down to F/6.5 or F/8.3 (uncommon electronic F stops) to expose the image perfectly. With this, always check your focus (use digital zoom!!). The worst thing ever would be to find an awesome flowing shot but it being slightly out of focus.

Experiment using the manual aperture, it will take some time to get used to!

Here is a draft edit that I chucked together from the test day -

http://www.youtube.com/watch?v=JN4tb8MJpEc

On to the Samyang 35mm T/1.5

This is a beautiful lens. I've only worked with a 35mm F/1.8 for my little Nikon D5000, so as far as experience with 35mm that goes out the window.

What can I say... The 35mm focal distance works so well with the 5D's full frame sensor, and even at T/5.6 the image was sharp and had a beautiful bokeh. To the other end of the spectrum; I also shot at T/22 to achieve a silhouette effect of Glen and the Houses of Parliament in the background. At this small aperture you would expect loss of detail and softness, but the Samyang 35mm excelled.

Another fantastic benefit of this lens is its minimum focus distance (the minimum distance from the lens to the subject for it to be in focus). It is very small at only 30cm allowing you to get very close to the subject and still achieve pinpoint sharpness and shallow depth of field.

I was filming up in London with my friend Glen, the light was hard when we arrived with strong sunlight beaming through the rain clouds, so to retain good exposure throughout the frame I found myself shooting between T/4 and T/8, varying the ISO depending on the location. For demo purpoes, I also filmed Glen constructing and using the new CamSmart MODA Rig, in innovative new video and photography product aimed at all level of users to achieve exceptional visuals in a cost effective solution.

For this close up, intricate video the 35mm lens was perfect for both wide and close up shots, I get more and more impressed as time passes!

My tips for using the Samyang 35mm T/1.5 cine lens - get yourself some ND filters, or even better variable ND filters as this will reduce the light entering the lens without changing the aperture, shutter or ISO. If you have a lens that is very fast, like this model at T/1.5, to retain a shallow depth of field in a multitude of locations and light levels ND filters are crucial and should be in your kit bag.

Here is the rough edit of the 35mm film! -

http://www.youtube.com/watch?v=g66CTm38SsA

Big shout out to Manfrotto for the 055CF tripod, video head and pro backpack, makes a world of difference to my old 055 aluminium model!

Good luck with your shooting, drop us a comment if you have any questions about using the lenses or kit, and be sure to like, follow and share!!

Box Hill Flooding on Canon 5DmkIII & Samyang 14mm T/1.5 Cine Lens

I've been out filming on the new kit today; I decided to use only one lens each time I produce these series of videos so you can see the direct difference between them, as well as how you can use them in a variety of ways. The 5DmkIII was mounted onto the MODA rig in micro-rig mode as for a couple of the shots I would be filming low angle, out of windows etc.

The video will be up soon!

What I'm editing today - Booty Camp BTS for the Society of Wedding and Portrait Photographers!

I have the pleasure of working with the footage I shot down in Falmouth last weekend with Bjorn Thomassen we are both sponsored by Manfrotto so we took the opportunity to film new products and features, as well as how to shoot video on a DSLR! These videos will be available online, as well as on major suppliers websites. It will also be shown at The Society of Wedding and Portrait Photographers conference in Jan! I filmed the Behind The Scenes of the production, showing how photographic styles, techniques and equipment can be used to transist from photo into video with Canon cameras, Manfrotto grip gear and Elinchrom lights.

This is my view for the day, not bad aye :P I do love my job!

The results are incredible. After using my Canon 60D for the last two years, stepping up to the Canon 5DmkIII has dramatically improved the picture quality that I capture. Teamed up with Samyang (Rokinon) VDSLR cine lenses and you have an awesome camera setup for cinematic visuals. Yes, I captured the video in ALL-I compression (the lowest compression available), as Magic Lantern does not have a firmware upgrade for the new 5D 1.2.3 firmware :( I hope that comes out soon!

Everything you need to know for videography and docu-film making! (Infographic)

Pre-shoot prep - How to photograph a funeral..

The job today.. Photographing the funeral of the father of one of my dads friends. Never done this before, so the good old internet helped me out there - http://digital-photography-school.com/how-to-photograph-a-funeral-4-tips-i-hope-you-never-have-to-use

So far, I know I only need to photograph the end of the ceremony at the crematorium with the flowers, so being non-intrusive and invisible will be a key point to me. I have already spoken to the client beforehand to discuss the requirements, which is doubly important than just turning up and snapping away, as you would assume.

I'll be on a 17-50 and a 50 f/1.4 predominantly, nothing fancy or on a large scale, and definitely no flash.

I'm off later on so you shall hear how it went later this afternoon!

A videographers diary of a working trip to Amsterdam

I left for Amsterdam at 4am on Friday 23rd, heading for Gatwick with Sam who really kindly drove me there! Having taken some equipment with me when I went to Amsterdam for the first time for IBC, however this time I would be covering a music event with multiple cameras so the kit list looked something like the following..

3 x DSLR bodies (2 Canon 60D, 1 Nikon D5000)

6 x lenses ranging from 17mm to 85mm

2 x Manfrotto ML360 LED lights

2 x Superclamp + magic arms

1 x Zoom H2

A load of extra things to cover my back just in case!

Copyright Adam Plowden 2013.

I got to Amsterdam at around 9am and headed for breakfast. Knowing how busy the Damrak is, I headed West and found a little cafe to chow down on breakfast. Like England, Amsterdam suffers from grim weather, so rain it was.

Copyright Adam Plowden 2013.

Now re-charghed, I headed to 420 Cafe, where Steven 'fly' works; the guy I met while I was over here in Sept, and offered me the job to come over and film the gig he is playing drums at; John Sinclair & His Vipers, on the opening night of the 2013 Cannabis Cup. For those unfamiliar with John Sinclair, he inspired John Lennon, writes amazing poetry and produces podcasts for Radio Free Amsterdam. With a huge following and message, capturing his performance was key to promoting John and moving his message forward into the age of video!

After dropping off my bags at Stevens, we had a look at the venue 'Arkhnaton' just round the corner from 420. It is a small venue with a corner stage, dark and faded which added to the aesthetic of jazzy, smoke filled Amsterdam gigs.

Copyright Adam Plowden 2013.

I then got to meet Mark from Iron Man records, and Claire, a producer back in 420 and got chatting about ourselves, the anticipation for that nights performance and how we can get the best material to push John Sinclair into the limelight. Through the cloudy room appeared John and Nick fresh off the train from England! We had a great time talking and relaxing in the great ambiance of 420.

After 26 hours of traveling, walking and getting settled back into Dam life, it was time for me to crash.

Up at 4pm the next day, recovered from the day before I was ready for a meal and to get on with the production that night. Steven and myself headed to John's favorite Indian restaurant on Nieuwezijds Voorburgwal and tucked into the best chicken madras I've ever eaten. Followed by a short walk across the road, we arrived at The Arkhnaton and began setting up for the gig later.

Copyright Adam Plowden 2013.

Naively, I forgot to pack the power cable for the field monitor, so I had to suffice with the on camera screen and viewfinder. I had a 60D on a tripod central to the stage with the 85mm F/1.8, with another 60D to my left a couple of feet higher than myself for a wide shot (with a superclamp and magic arm). Over to the right I had a D5000 with a 35mm F/1.8 for an extra cutaway shot.

Ready for the gig, I chilled while the band set up and rehearsed. I got some snaps and shots of John and his Vipers performing to build up a collective of promo material.

Copyright Adam Plowden 2013.

The blues and poetry were in full swing, Steve Fly on drums, Vince on guitar, accompanied by a last minute sax and horn player to add a touch of brassy class. Having Magic Lantern on the cameras eliminated the restart issue, so syncing up in post would be easier. It was a fantastic gig, and great to hear Johns poems in person.

Knackered from another late one, I turned around the memory cards and equipment the next day, racking up 70Gb of footage over 3 hours or so! It was enough of work, and time to enjoy Amsterdam.

I had a fab time with the 420 guys Janne, Eli and Tias when we went on a trip around town for a Cannabis Refugee's project, I accompanied with my camera, capturing the nights events in a number of hotspots around the city; Grey Area, Greenhouse, ending back at 420 for some more giggles and fun.

It was my 22nd birthday on the 27th Nov, so in true celebratory style, cake for breakfast! Followed quickly by Wok To Walk, which is like a Chinese version of McDonands which they have brought to Soho!! Thanks to Steven and the guys I had myself an exhibitor pass to the Cannabis Cup 2013, so the rest of the Cannabis Refugee filming went on the road! As a tourist, it was create to experience this new open culture and lifestyle!

There's Annika! Stevens flatmate and my new found seed genius!

After that, I got to see The Wailers (minus Bob of course) at The Melkweg, a local gig venue to the Leidsplein, which was awesome!! They played all the best tunes, a great end to the day.

Copyright Adam Plowden 2013

Being a techie, its a bad habit of mine to check up on what the guys working are up to..

It was soon my last day in Amsterdam, it always comes around too quickly as I never get around to do all the things I wanted; museums, canal boat tour etc.. But it is winter and I was there for work so that is my excuse!

Now back home, I'm in the edit suite working on the multi-camera edit of the video!

I'm working on my laptop, so progress is a little slower than if I was working on a full powered machine, however I have got through most of it over the last couple of days, spending most of my time re-syncing the clips together.. Working with 3 cameras in post on a 1 man live crew is certainly interesting!

If you haven't already, check out some of my other stills I took, including a performance from Steven and Vince in a Squat house!

Thanks to Steven Fly for the job and for letting me stay at your place for my stay, thanks to Mark and Claire for your help with the video, as well as the guys from 420; Janne, Eli, Tias, Laura, Claire, Francesca, Annika, John and Caleb and anyone else who I've missed out!

Do you want video for your business, event or organization? Video is a powerful and vast marketing tool, get in touch at info@adamplowden.co.uk for more on what I can do for you!

Amazing week in Amsterdam!

Check out my snaps, all are copyright Adam Plowden Videography 2013. Places include various sights from walking around the city of diamonds! [gallery ids="594,595,596,597,598,599,600,601,602,603,604,605,606,607,608,609,610,611,612,613,614,615"]

Review: Manfrotto Backpack50

Hello all! Here is the anticipated review of the new Manfrotto Backpack50, the flagship range of professional photography and videography bags for cameras and equipment.

The new range comes in a variety of sizes depending on the equipment and lenses you use. If you are going to be shooting for ENG, or know you will need fast access to your camera and lens kit then the Holster range may be for you, or if you're looking for a perma-home for a vast range of bodies, lenses and accessories then a Roller Bag or Backpack will be for you.

I got a great surprise through the post a couple of weeks ago, it was the Backpack50, which I have been using out on photo and video shoots, testing it to the extreme in a wide range of shooting situations such as weddings, on location video and corporate events.

First things first, as you can see the bag is BIG! Not too big that it is laborious to carry around, as the support straps provide great comfort for a fully packed bag. Having a bigger bag eliminates the need to bring extra sling bags if you take laptops and tablets on shoots, as there two separate zip pockets for both, and also allows me (predominantly shooting video) to keep all of my essentials in one place. For example, the bag is currently full with my kit needed for a shoot for Tesco on Friday, so a 7" HD field monitor, clamps, Rode VideoMic, 2x DSLR bodies and 6 lenses sit snugly in the protective separators. I have all I need in one convenient place, a perfect solution especially as I am a SINGLE shooter.

Overview of the Backpack50's features:

Unlike other camera bags which open from the side or the back, the Backpack50 opens from the top, which allowed me to quickly grab my camera (with lens attached) almost immediately with ease. If you've got the waist support done up then this is even quicker as you can swing the bag from your back to front and grab the camera that way. The other handy feature of this is that you can have a telephoto lens attached to the camera and still take it out with ease, as the support pads can be customized to fit your individual kit needs.

Here you can see the bag open, the top flap unzips all the way down revealing many side pockets, 3 zip pockets on the flap (which I use for little bits that I can grab quickly such as batteries, SD cards, hot shoe adapters etc). There is even a protected zip pocket for a tablet if you have one too!

The capacity of the Backpack50 is fantastic! As I mentioned before I filled it up with various accessories for shooting video, but it will comfortably hold a large DSLR body and telephoto lens attached in the middle section, up to 8 standard lenses in the side sections, as well as two ideally large and deep side pockets. These would be great for clamps and arms, but I use mine for my microphone and a little tool box for emergencies!

A small but memorable Manfrotto logo on the main flap of the bag, the branding is not in your face which keeps the bag discrete.

With a fully packed bag (including a laptop, EVF) it is heavy as you would expect, however the inclusion of a very comfortable, padded waist strap distributes the weight evenly through the body, rather than putting the pressure on your shoulders, reducing fatigue, and it was a welcome relief for me to see too! All the straps are padded, and are very heavy duty for a camera bag which is fantastic when shooting in rugged and fast paced environments, or for a very long time.

The Backpack50 also includes a waterproof cover, essential for protecting your beloved kit in times of heavy downpour, however it would have been better to see this built into the bag rather than a separate part, as this reduces the risk of forgetting it!! It also has a side strap for tripods which is a welcoming sight. Previously I used a Lowepro bag and simply strapped my Manfrotto 055B tripod and 701 head to the main straps, which is heavy and also puts lots of strain on the bags fastenings (i don't recommend this). The external strap loops through a heavy duty fabricated patch on the side of the bag, and the strap can be secured around the head of the tripod. It is quick release too, so you can get the tripod off the bag and set up quickly. A great improvement.

Overall, I am delighted with Manfrotto's new Backpack50 as it caters for the pro photographer AND videographer, protecting our livelihood (equipment) with fantastically engineered bag sections, as well as providing flexibility when out shooting which many backpacks restrict due to their bulky and un-ergonomic design. Manfrotto have overcome this by designing a bag with the pro in mind, and have produced a very successful and ergonomic addition to the growing kit list of photographers and videographers alike.

Check out the new range on Manfrotto's website here - http://www.manfrotto.co.uk/collection/8615.1065.17520.0.0/Professional

Golden Hour - Manfrotto Backpack50

Another snap from the shoot today for Manfrotto's new professional bag for photographers and videographers "Backpack50".

Manfrotto Shoot #2 "Backpack50"

Manfrotto's all new Backpack50. [gallery ids="557,558,559,560,561,562,563,564,565,566,567,568,569,570,571,572,573,574" orderby="rand"]

There will be much more later, its been a long day! I took the photos on my Canon 60D and Nikkor 50mm F/1.4 manual for a beautiful soft background to complement the autumn colour tone, landscape and chilly weather at Epsom Downs!