A Beginners Guide to Selecting a Video Tripod

When it comes to video one of the most important tools for any camera operator after a camera - whether amateur or professional - is a decent tripod.

 

While it is often the case that cameras generally take all the glory whether be it because of a fantastic zoom, an expensive wide angle lens, or some other feature many great shots would be nothing if it weren't for the help of a sturdy tripod.

 

Often dismissed simply an "accessory" the humble tripod is so much more, and something to which some consideration should be given prior to making a purchase. Here's a few things to consider:



Payload





Autocue Heavy Weight Tripod System

One of the most important factors you will need to consider when selecting a tripod is the payload (i.e. the overall weight the tripod needs to support). It's all well and good having an expensive camera with a big lens and a nice rig but skimp on your tripod and that saving you made won't seem so attractive when it collapses on you mid shoot. Other things to take into consideration are things like prompters since these can also add a considerable amount of weight which combined with a camera will soon add up.

 

As a general rule of thumb a tripod with the capacity to carry a greater payload will generally be more expensive, especially if you're looking at brands such as Sachtler or Vinten, although that's not necessarily always the case. If you need a great solution for studio work out the Autocue Heavy Weight Tripod system.

 



Libec RS-450R

Height

A common misconception is that a tripod should stand at about eye level. While this isn't always a bad thing the extra weight due to the increased height might be and this rule doesn't take into consideration the addition of a tripod head/camera which both increase the height so bear this in mind when making a decision. Some tripods feature an extendable mid column but these are less common on video tripods mainly due to the fact that they tend to increase the centre of gravity when used which in turn leads to a decrease in overall stability. If height is an issue for you then we'd recommend the Libec RS-450R which at 167cm tall is taller than most.

 

 

Weight

 



E-image EG15C2 Two Stage Carbon Fibre Tripod

With added weight comes added stability and if you're using a heavy camera then unfortunately there's often no way around this unless you choose to go the carbon fibre route, which can be expensive. Heavier tripods designed for bigger cameras often tend to feature a heavier price tag and that's before you've even considered checking them in at the airport.

 

If travelling light is important to you then have a look at some of the newest offerings from E-Image.    Here at Planet PC we've been particularly impressed with their tripods and dollies. If great build quality and value for money sound like your cup of tea then head on over to www.planetdv.net to check out the full range. Did we mention they also do some excellent camera bags too?

 

 

 Other things to consider...

 

While the payload, height and weight of a tripod all come in to play in a big way there are a few more things you'll want to consider. Tripods generally feature a spreader for added stability. Depending on where you're using the tripod will depend on the kind you require - for example if you're filming outdoors on an uneven surface then a mid level spreader is your best option. Alternatively if you're working indoors on a flat surface then a floor spreader will serve you best.

 

E-Image GH08 Installed Fluid Tripod Head

Another feature often prevalent on video tripods is a little button sized spirit level. These tend to be less common on standard consumer/DSLR tripods due to the fact that it's often so much easier to fix a still image in post. Unfortunately this isn't the case with video which is why having a spirit level on board can make life a lot easier providing you correctly level your tripod/camera in advance,

 

If you're using a heavier camera we'd also recommend considering a tripod with a decent counter-balance. This will make life a lot easier when controlling the camera and tilting/panning and literally take the weight off you - essential if you're filming for long periods or using any sort of rig.

 

Lastly it's worth giving some thought to whether or not you want a complete tripod kit or a separate system consisting of legs and a head. A separate system is normally more expensive and often preferred simply because of the fact that it allows the user to mix and match legs/head in order to meet specific preferences. Tripod legs often have a tendency to reach the end of their lives before heads which means that while they are initially more expensive they can work out considerably better value for money in the long term.

 

For more information or to view our full range of manufacturers and  equipment visit www.planetdv.net where along with tripods, dollies and monopods you'll find everything else related to professional broadcast.

 

Alternatively if you're looking for something you can't see on our website why not drop us a line at sales@planetdv.net or call our dedicated sales team on 01274 713400.

Wireless Streaming with Teradek

When it comes to wireless streaming in professional broadcast the name Teradek often springs to mind.
 





Teradek Cube

Thanks to their innovative products such as the Teradek Cube and the Teradek Bond, Teradek products have now become the go to gadgets for anyone in professional broadcast who needs to get high quality content from A to B fast and effectively.

 

Whether it's wireless monitoring, point to point sharing or internet streaming, Teradek are considered by many to be the market leaders in an industry where speed, quality and efficiency is everything (and here at Planet PC we can see why).

 

Over recent years advances in technology combined with ever increasing demands on content producers have lead to a huge rise in the amount of companies not only looking to utilise streaming as a solution, but also those looking to provide streaming services.

 

Companies such as Livestream and Ustream  are just a couple of the content delivery networks quickly becoming household names to anyone looking for an affordable way to broadcast online and with this in mind it come as no surprise that Teradek have taken note.

 

Enter the Teradek Vidiu.



Teradek Vidiu

The Vidiu is Teradek's latest offering to the world of wireless streaming and is essentially a camera mounted little black box. Admittedly this description by itself doesn't sound that exciting but then remember that this is Teradek we're talking about, and anyone who knows Teradek knows that their little black boxes tend to contain more tricks than a magican's sleeve.

 

The Vidiu allows the user to wirelessly stream HD video footage in H.264 direct to web over Wi-Fi, Ethernet and 3G/4G networks without the need for a PC, and also includes a free iOS app to allow remote monitoring/configuration.

 

As if that wasn't enough the Vidiu integrates seamlessly with Livestream and Ustream, and can be used in conjunction with any streaming platform thanks to it's standard RTMP interface. If that wasn't enough the Vidiu also features an internal rechargeable Li-Ion battery, a mic/line input, headphone out and includes a power supply.

 

With an RRP of £495.00 we reckon that's an absolute bargain but as if that wasn't already great value for money then why not head over to www.planetdv.net where you can get a Vidiu for FREE when you purchase a Panasonic AC-130 or AC-160 throughout June and July.

 

 

 

 

A Little Bit of Lighting (and why it's a bright idea)

Lighting (or lack of) is one of those things that can make or break a video production. Whether you're live on air or working in post-production, getting your lighting right in advance will save all parties involved a lot of time, effort and frustration. With this in mind it pays to be switched on, and is a subject which is well worth giving some careful consideration.

 

Lishaui LS-255A

 

Fluorescents or LED's?
 

Here at Planet PC we sell a range of lights but recently we've been getting a lot of questions about fluorescents vs. LED's. Continue reading and hopefully we'll shed a little light on the topic.



One of the main benefits of fluorescents is cost. Although cheaper than their LED counterparts they do give out more heat (although less than halogens) and generally offer a decent level of dispersion. This means that fluorescents are ideal for lighting a bigger space and for anyone on a budget. Why not check out the Lishuai LS-255A if you're looking for a great value for money fluorescent with some great features (did we mention they're dimmable too!).

 

LED's on the other hand tend to be more expensive but are generally more efficient and give out virtually no heat which means they're great for use in confined spaces and for long shoots where heat might be an issue (we all know how hard it can be keeping the talent happy).

 

If you like the sound of a dimmable bi-colour have look at the Datavision LEDGO 600BC. Featuring a V-Mount battery plate, built in barn doors and with a range of filters included this would make an excellent addition to any professional kit.


  



Datavision LEDGO 600BC

Portable or Studio?

 

Whether you choose a portable kit or a more permanent solution will ultimately depend on you and the work you do. If you're on a budget and looking to do chroma key work in a studio then fluorescents such as those by Lishuai would be ideal. Alternatively if money is no option and you need a portable solution have a look at Ianiro's Redhead kits.  One thing to bear in mind is that it's often easier to use a portable solution within a studio than the other way around, especially once you start to factor in things such as lighting bars and stands. Many of the lights on our website come as kits, complete with cases which means they're easy to transport and carry around, ideal for anyone who isn't purely studio based. 

 

 

Lishuai  LED144AS

For those of you who need the ultimate in portability why not consider a camera mounted option? Here at Planet PC we like the Lishuai  LED144AS. Complete with  clip on Diffuser, adjustable cold shoe mount, Sony NP-F Style Lithium Ion Battery pack, Single Channel charger and soft carry case this little kit is a bargain at just £85.00 (ex vat) and well worth considering if you're a one man band. 

 

So whatever your lighting needs whether it's portable or studio lighting you require, here at Planet PC we provide a wide range of lighting and accessories for a multitude of requirements whatever your budget.

 

Check out www.planetdv.net for the full range, or why not give our sales team a call on 01274 713400.

Adobe Cloud (And the Silver Lining behind It)

If you haven't been hiding under a rock for the past few months you might have heard about a not so minor change a certain software company is making to the way we use one of it's most popular software packages.

Originally launched in 2003 and quite possibly the most popular software package used by creative professionals to date, Adobe's Creative Suite has long been a key tool in the arsenal of web developers, graphic designers and videographers to name but a few. For nearly a decade customers have been able to purchase a boxed product either online or in store.

Until now.

Adobe's Creative Suite has now gone Cloud based and will be now known as Creative Cloud. Creative Suite 6 (CS6) released earlier this month signals the end of an era for Adobe software as we know it. Any future versions will now be known as the "Creative Cloud" and form part of a subscription based model.

The old adage "If it ain't broke don't fix it" comes to mind and understandably Adobe's announcement has caused one or two ripples in the ocean, so to speak.

While some have compared it to when Dylan went electric, here at Planet PC we can appreciate the benefits.

Adobe want their customers to have access to the most up to date software as soon as it becomes available and one of the great things about the Cloud is that thanks to the internet this is now possible. From a creative point of view this means there's no getting left behind, no additional cost, and no competing with the future using tools of the past.

Warming to it yet?

By going Cloud based Adobe have also made what is undoubtedly excellent software affordable to anyone. No longer do creative professionals need to fork out a large sum of money upfront in order to allow them to get to work. Users can instead now pay on a monthly basis which is great news for anybody just starting out or those with limited cash flow.

Did we mention you get storage?

That's right folks, part of the Cloud is storage (20GB-100GB depending on your subscription) along with access to Behance, which is an online community allowing you to share your portfolio and network with like-minded creative professionals and potential employers.

Synchronisation and cross platform publishing.

Adobe Creative Cloud lets you create work on a range of platforms which can then be viewed on a range of platforms. In a world where so many different devices exist for absorbing media compatibility if of paramount importance. Adobe realise this and have made it as simple as possible to share your work how you see fit.

For more information on Adobe's Creative Cloud check out the link to the Adobe website below.

http://www.adobe.com/uk/products/creativecloud.html

Alternatively visit www.planetdv.net or call one of our sales team on 01274 713400.

Working with Green Screen (and the key to getting it right)

Here at Planet PC one of the things we get asked about on a regular basis is green screen work, or chroma keying. Whether it's a customer who wants to integrate virtual sets into a production, or someone who wants to give the impression of location filming, there's a range of solutions to cater for all budgets.

 

 

 

The most obvious option which most people are familiar with in terms of chroma keying is green (or blue) screen. The colours green and blue are used mainly due to the fact that they provide the best contrast to human skin tone and the green ‘screen’ can consist of anything from a green curtain to a painted background. The key to achieving effective results (pun intended) often comes down to, not so much the background itself, but to the lighting surrounding it. The reason for this is that, in order for the key to look effective, the background needs to be flat and of a uniform shade with no shadows, which is harder to achieve than it sounds. Good lighting along with knowledge of how to use it is also of paramount importance and, when using multiple cameras/lights, it is inevitable that shadows, creases and reflections start popping up all over the place (and that's before your presenter turns up late wearing a green outfit).

 

An alternative option to the traditional green screen is to use a reflective background in conjunction with a light ring, such as those manufactured by Reflecmedia. These light rings consist of a ring of LEDs attached to a camera via a lens adapter/filter thread. The reflective background consists of millions of interwoven microscopic glass beads which act like cat's eyes in the road. These reflective glass beads allow the light emitted from the light ring to bounce back in multiple directions meaning that the camera then sees green (or blue).

 

Pros and Cons

 

Many people like traditional green screen because of its initial affordability (note we said "initial"). Procuring some sort of green fabric/reflective green paint is fairly cost effective and with technology such as Wirecast, the ability to product a professional looking production on a budget is becoming more accessible every day. Where traditional green screen gets expensive is when you take into consideration all the extra factors needed to make it work well and look good. As we mentioned earlier lighting is important (not to mention expensive) and, unfortunately, when it comes to lighting a green screen it's not just a case of turning lights on and pointing them in the right direction. Even after you've spent all that time learning about light placement and lighting your background, foreground and subject, there's the amount of space all that lighting takes up combined with the amount of heat it gives off and overall running costs.

 

 

 

 

The light ring/reflective background combination is a much easier (and much more forgiving) solution to work with. Although initially more expensive this solution means the user can get away with using less lighting and ultimately less space. Reflecmedia also produce a range of pop up screens which make this solution ultra portable and easy to set up. The Chromatte fabric itself is also flexible to the point where it can be folded/scrunched without affecting the key. The light rings (or LiteRings if we're talking Reflecmedia) are also adjustable, meaning that the intensity can be increased/decreased and also feature the ability to switch between green and blue light at the flick of the switch.

 

 

Ultimately the choice you make as a customer will come down to your budget and your requirements but, whatever they are, our website is a great place to start.

 

Visit www.planetdv.net to check out the full range of Reflecmedia kit available along with an ever increasing selection of professional broadcast kit. Alternatively give one of our sales team a call on 01274 713400 for more information.

BBC and Sony team up to offer Wimbledon in 4K

As if strawberries and cream weren't enough to get you in the mood for Wimbledon, you can at least be safe in the knowledge that this year there's a good chance you'll be able to sit back in the comfort of your own home (or pub) and enjoy this year's tennis in full 4K.

 Sony and the BBC have teamed up to trial the newest addition to the world of ultra-HD in a live broadcast environment, with Sony handling the tech side of things and the BBC handling the filming.

 From what we hear Sony have been busy kitting out their OB trucks with the most up to date equipment available and, with hi-resolution monitors becoming more affordable every day, it's only a matter of time before we start seeing a lot more 4K content appearing on our screens. With this in mind it was always only a case of when for the BBC and has only recently been made possible thanks to the introduction of the new HEVC codec, which allows 4K to be compressed to  a much more manageable bitrate. 

For those of you who can't wait until Wimbledon to get your fix, why not check out some of the newest 4K ready kit below.

 

 

Sony NEX-FS700E Large Format Sensor Camera

Blackmagic Design UltraStudio 4K

  

 

AJA Ki Pro Quad Solid State 4K Recorder

Avoiding the Rigmarole of Selecting a Camera Mount with Edelkrone

Following on from the last post, one of the undoubted gems of this year's NAB was rig manufacturer Edelkrone.

Based in Turkey, this innovative company is made up of film makers and engineers with a passion for design and quality. Edelkrone's current range of products includes a variety of rigs, sliders and accessories to suit all budgets and requirements.

Loaded with more accessory points than you can shake a boom pole at and ergonomically designed with functionality in mind, their rigs are comfortable, adaptable and easy to use.

If compact is what you're after then check out Edelkrone's Pocket Rig. Built with the DSLR videographer in mind the Pocket Rig features a stabilization stick with chest padding along with optional extension rods, making this the lightest and most compact rig we've seen.

Here at Planet PC we were also impressed with their affordable sliders, both of which feature a port to attach a motorized motion control unit (coming soon) along with rails made from military grade chrome plated steel. Talk about a smooth operator!

 

For more information and to see the full range head on over to www.planetdv.net