RGB and CMYK are two colour modes that differ considerably in their approach towards colour reproduction. I explain how they differ and when you best use one or the other in this downloadable PDF.
If you have the Ulysses text editor on your system, you’ll have noticed it doesn’t have an option to show when you’ve last edited a document – sheet in Ulysses jargon. There’s a simple workaround for that.
An article from a company that’s active in VoIP, video conferencing, etc and a recording that was ruined because an ambulance and police car drove by made me think about noise cancellation using two microphones instead of complex machine-learning algorithms. Could it be that, if you use two identical microphones with good off-axis rejection, you can achieve better noise reduction?
If you record audio via an external recorder in order to replace the audio your camera captures, you’ll usually need some sort of a synchronisation tool. The simplest is using a clapper, with the second-best using Red Giant’s PluralEyes. But what if the audio your recorder captures drifts out of sync during recording? Why does that happen and how can you avoid it?
The Illuminati light meter (links to review) is a Bluetooth light meter – in fact, it’s the only Bluetooth one on the market so far – that you control through an app on an iPad, iPhone or iPod Touch. The app is also available on Android, but as I only have an iOS device I’m going to concentrate on that one. The Illuminati meter is one of the two available on iOS devices that can withstand the comparison with a professional, dedicated light meter such as a high-end Sekonic. It’s, however, the only one that measures not just flash output, but also flash colour temperature. Its direct competitor, the Lumu Power, does not support that (yet). While the Illuminati light meter supports flash colour temperature metering, the controlling iOS app has proven to be a little flaky in actually reading a strobe’s colour temperature and displaying it on your iOS device. After a few months of trial and error – especially error – I finally had a conversation with the developers about this and got to find out …
In the past, we have tested and reviewed an sE Electronics V7 dynamic vocal microphone, an sE2200a large-diaphragm condenser and a RØDE NT1 condenser mic. We found the clarity and flat tone response of the V7 and the NT1 great, but they lack the warmth of the sE2200a. So, after reviewing the Universal Audio DSP-capable Arrow interface, which allows you to use a near-zero-latency Unison plug-in as a preamp that can dramatically change the sound characteristics of the mic you’re using, we wondered if it would be possible to change the sound recorded with the V7 and NT1 in such ways that they would sound more like the sE2200a without losing their own unique qualities. In other words, we wanted to know if you can make your audio sound as if it were recorded with a Universal Audio Unison tube preamp UA 610-B.
If you are recording audio separately when shooting a documentary, interview or movie, chances are you’ll not only have to synchronise it with the footage but also edit your audio to make it sound perfect in post production. The two apps I use for this are the iZotope RX 6 Advanced Audio Editor and the Ozone 8 mastering suite. To be honest, my workflow will only work well with one or two microphones. If you’re recording a classical concert, you may have more than two mics set up to record audio from different parts of an orchestra. You might also be preparing a soundtrack CD from multiple recordings. That’s not the audio post production I’m covering here as those also require careful mixing. Mixing is less of an issue when you’re recording an interview or a commentary to go with a documentary, for example. What I’m going to discuss is how I optimise such recordings. To create a good sounding audio file, you’ll have to record at a high enough gain. If your gain levels …
Atomos’ latest Ninja and Shogun monitor/recorders are pretty awesome, but if there’s one thing the company should work on it’s the way you have to remove your master caddies from the recorder. I can relate to the need for the caddy to sit really tight when recording, but they should be made in such a way that you don’t have to press so hard you risk damaging the top surface when trying to pry them from the unit.
Colour depth or bit depth is either the number of bits used to define the colour of a single pixel in a bitmapped image or video frame buffer, or the number of bits used for each colour component of a single pixel. Chroma subsampling is the practice of encoding images by delivering a lower resolution for chroma (colour) information than for luma (lightness). The two combine into what your footage looks like when it has been freshly recorded.
In this tutorial you’re going to learn how to use the Hahnel Captur Module Pro and all of its capabilities. Before we start, you should also have a Captur Remote Control set with a Transmitter that is put in Digital Channel Matching mode with at least one Receiver. In addition, you should put your Captur Module Pro in Digital Channel Matching (DCM) mode with at least one other Captur Receiver.