I came across several applications for lighting professionals while researching our recent post iPhone Apps For Filmmakers. Lighting engineers can enjoy a full array of sophisticated apps to assist in their work.

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PowerCalc by West Side Systems, LLC (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

PowerCalc performs basic electrical power calculations with watts, volts, amps, and motor power factor. More Info

Luminair (DMX Remote) by Synthe FX, LLC (Cost: $99.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

Luminair enables you to wirelessly control, view, record and manage intelligent DMX lighting fixtures, consoles, media servers and other software directly from your iPhone or iPod touch. Using Artistic License’s Art-Net protocol over your device’s built-in Wi-Fi connection, Luminair communicates with other compatible hardware and software nodes on your network. A gorgeous user interface provides desktop-calibre features and performance, all on a mobile platform. Use Luminair as the ultimate remote focus tool, for advanced architectural lighting, or simply as the centerpiece of your intelligent lighting rig. Video Demo   

DMXCalc by West Side Systems, LLC (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Entertainment lighting equipment uses a control system called DMX512. DMXCalc is a simple and elegant calculator which does address arithmetic for DMX equipment. More Info

DMXtoolSet by Holger Blümler (Cost: Free)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

Most features and functions of this app require external hardware interface at docking connector. This hardware receives audio output signal that carries the DMX data. This works like a modem via FSK (frequency shift key). But the app also works without external hardware. In this case you can use the DIP-switch tool. It calculates DMX channels to DIP-switch settings. The DMX hardware interface may be purchased separately at hmb-tec.de or futuresoundfactory ebay shop.

iSwitch DMX by Michael Zinman (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

iSwitch DMX is an easy to use binary DIP switch utility for stage lighting electricians, technicians and programmers. Selecting a DMX address updates the DIP switch graphic with the correct DIP switch settings. You can also select an offset for your next DMX device to display the next subsequent address & DIP switch settings.

iSwitch by Michael Zinman (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

iSwitch is an intuitive binary DIP-Switch calculator for engineers, technicians and programmers. Selecting a Device address updates the DIP switch graphic with the correct DIP switch settings. You can also select an offset for your next device to display the next subsequent address & DIP switch settings.

Light Calc by Michael Kohler (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

Light Calc is a photometric calculation tool for professional lighting designers and theatrical electricians. It allows you to carry a pocket database of commonly used theatrical lighting fixtures that you can quickly access in the field. Light Calc allows a user to select a type of lighting fixture, choose one of several lamp types, and set a throw distance. The calculator will then return a beam diameter and field diameter, in feet, as well as center field illumination, in footcandles.

Light Calc Lite by Michael Kohler (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

Light Calc Lite is a simple beam calculator application for Lighting Professionals. Simply enter a beam angle or a field angle and a throw distance to calculate the expected diameter.

PocketLD by Michael Zinman (Cost: $19.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

PocketLD is a photometric database and calculation tool for theatrical and TV/Film lighting professionals. Simply enter your throw distance, than select manufacturer, fixture and a lamp to calculate beam/field diameter and fc/lux. More Info

ML Finder PRO by Michael Zinman (Cost: $39.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For lighting designers, stage electricians, programmers and techs, ML Finder PRO is the perfect companion to any toolkit. ML Finder PRO is a complete list of parameters and channel assignments for over 500 lights, LEDs and media servers. For the tech addressing a light plot, a designer determining the functionality of a moving light, or a programmer building a profile for their lighting console. This information is nicely integrated into one app. More Info

ML Finder by Michael Zinman (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For the stage lighting tech addressing a light plot. ML Finder displays the DMX footprint for over 500 moving lights, LED’s and media servers. Know how many DMX channels each device uses, in any mode. Simple to navigate and FREE to download!

GelCalc by Michael Zinman (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

iSwitch DMX is an easy to use binary DIP switch utility for stage lighting electricians, technicians and programmers. More Info

Gel Swatch Library by Wybron, Inc. (Cost: $19.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

The Gel Swatch Library by Wybron, Inc., lets lighting production personnel browse, search, and compare more than 1,000 gel color filters. More Info

CXI Color Calculator by Wybron, Inc. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

The CXI Color Calculator from Wybron helps lighting production personnel find and program colors for the CXI dual-gelstring color changer. Scroll through two overlapping gelstrings of cyan, magenta, and yellow to blend the ideal shade, then plug its numerical values into your lighting control console to have a CXI color changer move to that color. The Color Calculator also gives you the values needed to replicate several colors from the GAM, Lee, and Rosco collections of theatrical filters.

ShowTool LD by Daniel Murfin (Cost: $3.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

ShowTool LD is an easy to use, yet powerful suite of utilities for Lighting Designers and Electricians.. More Info

BeamCalc by West Side Systems, LLC (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

Use BeamCalc to calculate the geometry of spotlight beams. Enter the height of the fixture above the focus point, the horizontal distance between the fixture and the focus point, and the fixture’s beam angle. BeamCalc displays the resulting throw distance, elevation angle, and beam width at the focus point. Adjust the position to achieve a specific elevation angle. Adjust the position and beam size to achieve a specific width. For use in architectural, display and entertainment lighting design.

ProjectorCalc by Michael Kohler (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

ProjectorCalc is a program for professional lighting technicians and projectionists. Its primary purpose is to determine the size of a projected image given various information about the projector and it’s location. ProjectorCalc allows users to enter details for a projector and its location in relation to a projection surface.ProjectorCalc will calculate image width, image height, diagonal length, brightness in Nits, total projected area, and how many pixels per inch the projected image will be. Additionally, ProjectorCalc can give you an estimate of how much keystone distortion will occur by calculating the length of each side of the distorted image.

Moiré Gobo Library by Wybron, Inc. (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

The Moiré Gobo Library from Wybron, Inc. lets lighting production personnel browse, search, and experiment with more than 3,600 different A-size gobos. More Info

iGobo by Richard Williamson (Cost: Free)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

Rosco iGobo for iPhone and iPod Touch is the perfect tool for lighting designers, technicians and creative directors on the go. Containing the entire Rosco gobo library of more than 2300 images, iGobo makes it easy to browse, compare and select steel, glass or effects gobos, black and white or color, no matter where you are — in your studio, at the tech table, in a design meeting or even in transit. More Info

Black Steel Gobo Catalogue by HILLA Limited (Cost: Free)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

GOBOLAND is an independent, specialized manufacturer of high quality glass and steel gobos for all lighting fixtures.Easily browse the award winning Black Steel Collection™ gobos. The App doesn’t require an internet connection while you browse the 1200+ gobo patterns available in high quality Black Steel or Glass.

Light by Digital Film Tools (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

Light can be added to a scene where none existed before just as if you were adding light at the time of photography. Realistic lighting and shadow is introduced using digital versions of the gobo library created by Gamproducts. More Info

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iPhone Apps For Lighting Professionals

One of the hottest commodities on the market today is the iPhone and iPod Touch. It is expected that Apple will have sold 80 million iPhones by 2012. The uses for this mini computer are growing everyday. Currently there is over 65,000 official applications available at iTunes for the iPhone. At the current growth rate this number could top 100,000 by the end of the year. This is not counting a vast amount of web based applications, over 1700 alone registered with Apple.

iPhone apps exist in many flavors, everything from simple games to complex software for professional task. Most apps are very affordable, if not dirt cheap or free. Filmmakers have not been left behind in the app frenzy. While searching the web for some tools to help us, I was astonished by the amount of software available. Here is a list of apps for the iPhone and iPod Touch apps I was able to dig up.

**Opera web browser users: If you have difficulty with the “get app” function working properly with iTunes, see this fix

Native Apps

A native app is a software that is installed directly to the iPhone. The iTunes store host all the apps approved by Apple.

Hitchcock by Cinemek inc (Cost: $19.99)

(iPhone, OS: 3.0 or later) Screenshots    

Cinemek® Hitchcock for iPhone and iPod Touch is a mobile storyboard and pre-visualization composer designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story. More Info

pCAM Film+Digital Calculator by David Eubank (Cost: $39.99)

(iPhone/iPod Touch, OS: 2.2.1or later) Screenshots    

A Motion Picture and Still Photography calculator for Directors of Photography, Photographers, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Editors, Production Designers, Art Directors, Film and Photography Students. Created by the same Hollywood Camera Assistant who created the widely used Palm version. More Info

iTC Calc by KPL Production Services, Ltd. (Cost: $9.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

iTC Calc is the perfect companion for any producer, post-production producer, editor, Flame or After Effect artists and everyone who need to deal with timecode and frames. More Info

iTC Calc Light by KPL Production Services, Ltd. (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshot    

iTC Calc Light is the perfect calculator for any producer, post-production producer, editor, flame or After Effect artists and everyone who need to make quick timecode calculations. More Info

TCCalc – Timecode calculator by Jean-Luc Pedroni (Cost: $4.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

TCCalc is a powerful time code calculator. With its two views, horizontal and vertical springboard, you can choose between basic timecode operations, or more sofisticated operations and features. More Info

TimeCodeCal by Daniel Maskell (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

TimeCodeCal is the most flexible time / timecode calculator available. With it’s user configurable frame rate from 1 to 100 frames per second, plus hexadecimal mode it is aimed at anyone performing time based calculations, from the casual user to professionals in the broadcast industry. The hex mode was included with developers in mind looking at memory dumps of data. More Info

FreeTime Pro by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

A powerful timecode calculator. Conversion and editing modes. Formats include NTSC, Drop Frame, PAL, Film edgecode (3:2 pulldown), and real-time. User preferences control behavior with field overflows, illegal (dropped) frames values, and key click sound.

TC Calculator by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

TC Calculator is a simple calculator for operating with TC’s (Time Codes) and frames. It can add, substract and convert TC’s between different speeds. It may be very useful for people working on video or film. Currently not available in iTunes US Store.

EditCalc by Brad Brooks (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

EditCalc is a frames, footage and timecode calculator app for the iPhone and iPod Touch. More Info

time:calc by WattenEarth (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

time:calc is a time calculator that does conversions and calculations of time. It also works with timecode enabling calculations of frame rates for TV and film. More Info

timecoder app by zinc Roe Inc. (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Timecoder converts video timecode between two different frame rates, from timecode to frame number and from frame number back to timecode. You can leave out the hours, minutes or seconds when they’re not necessary. You can also use large values that will “roll over”. For example, you can enter 90;00 (90 seconds) and Timecoder will automatically convert it to 00:01:30;00 (1 minute and 30 seconds). You can choose from a list of common framerates (frames, 24, 25, 29.97 and 30), or enter any framerate you like. Timecodes and framerates are rounded for display, but the conversions are accurate to more than three decimal places.

Film Editor’s Calculator by Michael Koperwas (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

The Film Editor’s Calculator is a valuable tool for any film editor which allows you to calculate feet and frames for 35mm motion picture film. The calculator’s database also gives you information such as manufacturer and film stock based on the keycode’s prefix. The keycode calculator interface is very simple to use and is helpful when working with film at the bench or working with telecines on an editing system.

Film Calculator by Noah Harlan (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

The 2.1 Film Calculator is a multi-purpose tool for filmmakers to aid in common tasks of film conversion and counting in pre-production, production and post-production.** On Sale! Now only $.99 until we release the new version in a couple weeks. Enjoy! ** More Info

Action Log Pro by Andris Ltd (Cost: $29.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Action Log is a film and television logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Action Log by Andris Ltd (Cost: $5.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Action Log is a film and television logging tool, designed for use on location or in a studio with 1 recording device. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Movie★Slate by PureBlend Software. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Movie★Slate is a digital slate, clapper board, shot log, and shot notepad— designed for use with film, television, documentaries, interviews, and home movies. Movie★Slate provides an easy way to log footage and take notes as you shoot— saving you time later when you capture and edit the footage on your computer. More Info

FilmSlate by Idea Engine, Inc. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

FilmSlate puts a portable “Smart Slate” in your hand. FilmSlate was developed by professionals, for professionals, and is designed to be used on set as an insert slate, a run-and-gun slate, or a portable backlit slate in your pocket. More Info

iSlate by ibuiltthis (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

iSlate is an easy to use portable digital clapper board that can help video enthusiasts add a touch of hollywood magic to their videos. Possible uses include video blogs, online video postings, and various video projects. More Info

iSlate Lite by ibuiltthis (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshot    

Free Lite version of iSlate the portable digital clapper board.

AClapBoard by Rolf-dieter Klein (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

A digital clapboard/Slate and client time measurement system. New features: timecode calculator and color charts, 2-pop sync. The application combines many functions useful for film makers but also in general for free lancer. More Info

ClapBoardLT by Rolf-dieter Klein (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

A digital clapboard and client time measurement system. ClapBoardLT is the smaller version of AClapBoard which has more features like color chart and timecode calculator.
More Info

LlamaSlate by Scott Lawrence (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

LlamaSlate is a filmmaker’s tool to help with the editorial process. LlamaSlate is a simplified digital version of a traditional “clapper board” or “slate”, which is used to mark the beginning and end of every shot filmed. LlamaSlate can also help you to sync multiple cameras easily. More Info

Pocket DIT by Clifton Production Services LLC (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

RED Camera users, this is your cinematography “cheat sheet”. More Info

iSee4K by Edward Watkins (Cost: Free)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

With this nifty little app spend your time ‘getting the shot’, rather than pouring over manuals and reference tables. Although primarily developed to aid users of the RED® Digital Cinema Camera, iSee4K is highly configurable and allows users to calculate DoF, FoV and Lens equivalence for virtually any camera and lens. More Info

DoF by Michael Neuwert (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

DoF is a small utility for Photographer or Videographer allowing to calculate the depth of field. More Info

DOFMaster by Donald Fleming (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

Use DOFMaster to calculate the depth of field in your photographs. You’ll be able to select the lens and f/stop combination that provides the zone of sharpness you need. Use it to calculate the hyperfocal distance for landscape photography. More Info

DOF Ruler by Devin Hartman (Cost: $1.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

DOF Ruler is a Depth of Field calculator with a unique sliding ruler interface. It is a quick and easy way for Photographers to calculate Depth of Field. More Info

f/8 DoF Calculator by Thorsten Kramp (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Photojournalists have a saying, “f/8 and be there,” meaning that being on the scene is more important than worrying about technical details. Yet with f/8, the depth-of-field and hyperfocal distance calculator for the iPhone and iPod touch, you’ll be there with the depth of field spot-on, too! Anywhere, anytime! More Info

MatchLens by D Matthew Smith (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

This calculator computes the equivalent lens focal length to produce the same field of view between two cameras with different aperture/sensor sizes. It will do a “Match Lens” calculation, and produce the closest equivalent angle of view lens, in millimeters, for both vertical and horizontal frames, between the original camera’s focal length and the current camera’s focal length. More Info

ShootPad by David Brewster (Cost: $6.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

Made for the guy shooting home video or the videographer shooting with their own camera. As the professional video guy is pausing and starting his video camera, he’s supposed to make notes for the starting and ending of cuts for later editing. More Info

Animation Timer by Randy Cartwright (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

Animation Timer is a simple stopwatch designed for animators. More Info

FrameTime by Patrick Spizzo (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

FrameTime is a simple animation timer that lets you time events down to fractions of a second. Use the simple controls to start the timer, then add keyframes based on the action you are timing out. Once you are finished, the timer controls conveniently move out of the way so you can see as many of the keyframes as possible. More Info

FPS Calculate by Wes McDermott(Cost: $0.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

An animation timer is being added so that you can time movement and convert that into a given frame count! More Info

Screenplay by Black Mana Studios (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

Black Mana Studios’ Screenplay is the world’s first fully-functional mobile screenwriting application. It allows professionals and hobbyists alike to write complete movie and television screenplays directly on the iPhone or iPod Touch. More Info

HollywoodHelper by differential enterprises (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

For actors, Hollywood Helper / Broadway Buddy helps you learn the lines of your scripts without lugging around printed scripts, whether you aspire to screen or stage. More Info

Sync Points by Jon Lay (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshot    

Sync Points is a calculator for composers for film, video, or any medium where precise synchronization to picture or SMPTE timecode is needed. With this app, you can calculate hit points from tempo or beats, generate an exact tempo in BPM and FPB for a given number of beats or timing, and compute a number of beats given a tempo and timing. More Info

FiRe – Field Recorder by Audiofile Engineering, LLC (Cost: $5.99)

(iPhone, OS: 2.2.1 or later) Screenshots    

FiRe is the world’s first professional field recorder built exclusively for iPhone and iPod Touch.. Combining powerful, elegant and uncluttered audio utilities with unparalleled technical support. More Info

PowerCalc by West Side Systems, LLC (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

PowerCalc performs basic electrical power calculations with watts, volts, amps, and motor power factor. More Info

LightMeter by Frank Bauer (Cost: $2.99)

(iPhone, OS: 3.0 or later) Screenshots    

Turn your iPhone 3G-S into a exposure meter.More Info

Helios Sun Position Calculator by Chemical Wedding (Cost: $29.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

Helios is a Sun Position Calculator that graphically represents the position of the sun from dusk to dawn, on any given day, in any given place. More Info

Focalware by Spiral Development Inc (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Focalware calculates sun and moon position for a given location and date. Use the interactive compass to determine the path and height of the sun or moon. Photographers and filmmakers who are always asked by their clients for the sun, moon and stars, can now deliver. More Info (with Video Demonstration)

MagicHour by Vela Design Group (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

MagicHour™ (formerly VelaClock) is a world clock that can quickly display the time of sunrise, sunset, three kinds of twilight (civil, nautical, astronomical) for dawn and dusk, moonrise, moonset, duration of daylight, current phase of moon, date and times for the next four moon phases, countdown to the next sunrise or sunset and next moonrise or moonset, and more. More Info

iFilmmaker Pro by Katha Films LLC (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For the movie making beginner, expert filmmaker or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with 1500 questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about different aspects of filmmaking like editing, directing /producing, scriptwriting, acting, and cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

iFilmmaker Pro Lite by Katha Films LLC (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For the movie making beginner, expert or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with hundreds questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about Editing, Directing/Producing, ScriptWriting, Acting, and Cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

Clz Movies by Bitz & Pixelz BV (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

This app is a supplement to Movie Collector software by Collectorz.com. Movie Collector is a must have for anyone with a large film collection. It is by far the most complete and versital database software available on the market. Clz Movies application for the iPhone allows your to take your movie collection with you on the go. More Info

Web Based Apps

Web applications (or web apps) combine the power of the Internet with the simplicity of Multi-Touch technology, all on a 3.5-inch screen. iPhone and iPod touch let you easily flick through news on Digg, play Sudoku or Bejeweled with a finger tap, and quickly check movie times, train schedules, and favorite blogs.

When you find a web app you like, you can put it front and center on your Home screen. Just open the web app on your iPhone or iPod touch, tap the plus sign, and then tap “Add to Home screen.” A Web Clip will be added to your Home screen automatically for easy, one-tap access. You have up to nine Home screen pages for all your Web Clips and you can organize them however you like.

Footage Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Enables you to calculate the amount of disk space required for various video codecs at varying frame rates. It offers an easy-to-use interface that allows you to quickly and easily view the required information whilst on the move – perfect for those awkward on-the-spot questions from clients. Along with the iPhone Version there is also a full browser version. Also available as an offline application.

Film Rate Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Calculates the relationship between film reels and shooting time. Use this calculator to work out how many rolls of film are required for a certain shooting ratio, or alternatively calculate how many minutes have been shot for a certain number of rolls. This is a useful tool for any script supervisor or producer. Along with the iPhone Version there is also a full browser version. Also available as an offline iPhone application.

Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Allows you to calculate the aspect ratio, width or height of an image or video. Also displays extra information such as the film or video format that the aspect ratio is normally associated with. This enables you to work out the correct frame size to use when creating CG shots that will be broadcast or intercut with live action footage. Along with the iPhone Version there is also a full browser version.

Depth of Field Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

This tool will calculate the depth of field for a given sensor or film type, aperture, focal length, and subject distance (the distance from the camera to the person or object you are focusing on). A lower number means that a large proportion of the background will remain in sharp focus and a higher number means that a smaller proportion (if any) will be in focus. It also includes presets for popular video cameras. Selecting a preset will automatically change the sensor type to fit your camera. Please be aware that this tool is designed for cinematographers, not still photographers. Along with the iPhone Version there is also a full browser version.

Pixel Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

This tool will help you calculate pixel aspect ratios (PAR) of video formats. It also enables you to work out the proper resolution for a still image placed into a non-square pixel timeline. The source resolution is the square pixel resolution (ie. the dimensions of the still image) and the target resolution is the non-square resolution (ie. the final resolution of the image upon adding it to the timeline).
Along with the iPhone Version there is also a full browser version.

Lens Angle Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.

Power Load Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.

RED StrorageCalculator by Alex Boerger  (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshots

This calculator is specifically for Red Camera users. With it you can determine how much storage (in gigabytes) based upon your desired Redcode, Resolution, Aspect, Framerate, and time. Goto the iPhone Version.

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iPhone Apps For Filmmakers

As I read the Down and Dirty DV Shut Up and Shoot Documentary Guide which I reviewed last week, I took notes regarding the equipment we shall need for our projects. I came up with a list of things to have and a number of notes for each item such as “what features to look seek”, “what price range to expect”, etc. I also done my best to prioritize the items. For each item, I also listed the reference page in the book. I then added a small mark in front of each item we already have. Obviously, we don’t have it all covered yet but I’m happy to say that we are a lot closer to having our gear ready than 6 months ago and also, that what we bought so far, fits the bill pretty well. Anyway, here is the list.

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DV Shoot Equipment Shopping List

When shooting video or taking photos a clean lenses and filters are a must. Rather you shoot digital or on film, or have consumer or pro camera, you are not immune to the dirty forces of nature. I can tell you, little is more disheartening than coming home from a shoot and finding your images are corrupted by a dirty lens. There is no remedy for this foolish, yet easily avoidable mistake. You can not rely on the view finder or LCD screen, the resolution is just not good enough to show most small smudges.

What is worse than a dirty lens you might ask? Well it is improper or obsessive over cleaning of the lens. Most of the lenses we deal with have a special coating on them which helps reduce flares, or light reflected by the surface of the lens. In addition the coating allows in more light than an uncoated lens. Typically on a glass to air surface 4% of light is naturally reflected away. A coating can bring this level down to about 1%. Lens coatings can usually be noticed by their red-purple or green appearance. Lens coatings can be rubbed away from over cleaning and applying too much pressure on the lens as you clean.

Preventative

The number one way to have a clean lens is using  preventative measures.

• Always use lens caps when not shooting.
• Keep your fingers off the lens.
• Use caution when changing lenses.

Use extra vigilance when shooting outdoors. Dust can come from a plethora of sources. Be especially aware around pollinating trees, salt water, and sandy areas with a lot of wind. For example during our recent vacation in Tunisia, we stopped to take photos at some sand dunes. I step out of the vehicle with my camera in hand ready to take a shot and was immediately blasted by a whirlwind of sand.

Removing Dust

Simple dust particles: A little dust on the lens doesn’t really hurt a lot, as the end of the lens will be out of the focal depth of field. Problems could arise though when shooting against a strong light source, where reflections off the dust can intrude. Dust particles can be easily removed with a light brush or air. Avoid using any kind of compressed air cleaners, which could leave a residue on the lens surface. The essential and primary tool for the job is a bulb type air blower. It is simple and easy to use, just avoid contact with the tip of the blower and the lens as to not scratch the lens surface.

For more aggravating dust use a fine brush to gently knock off particles. A great tool that should be in everyone’s equipment bag is a brush style lens pen. They offer a quick and easy method for dust removal as well as other deposits on the lens. One end of the pen will have a retractable brush, the other will have a non liquid based cleaning pad. These gizmos have become extremely popular and are in wide use around the world.

First use the brush tool to remove all abrasive deposits then use the cleaning pad lightly in a circular motion. These pens are usually marketed to clean both lenses and LCDs. I recommend having a different pin for each use. Also these pens can not be cleaned and will have to be replaced from time to time, which is no problem considering how cheap they are. Similar type pens are also used for sensor cleaning, which I will cover in a future post.

Liquid Based Cleaning

Liquid based cleaning methods have long been the standard method and are necessary for stains like grease from your fingers. Apart from the liquid a cloth is also required. Avoid cheap dime store wipes that may be too abrasive. Use a good microfiber cloth specially made for lens cleaning. Before attempting to clean your lens with a liquid and cloth, use a brush to knock off any dust particles. One of the best liquids you can use is your own breath. It contains no chemicals that may eat away at the coating on the the lens. Breath hard on the lens surface leaving a fog of moisture on it. Then using a the microfiber cloth, gently wipe in a circular motion from the center of the lens to the outside(without rubbing). In other words, leave off the elbow grease. If a problem area still exist a stronger cleaning solution will be needed.

Many products exist for lens cleaning. It is important to chose one that will leave no residue on the lens surface, such as those commonly sold for eyeglasses cleaning. One possible solution is pre-moistened cleaning pads especially designed for camera lenses. Use these pads one time and dispose off, they should not be recycled. Your other option is to use a cleaning liquid in conjunction with a dry cloth. The procedure here is the same, just be aware that it only takes a little bit of liquid. A small amount will go a long way and decrease the possibility of leaving any kind of residue on the lens surface.

A full line of top quality cleaning products can be found at the B&H photo and video store. Keeping your lens clean and dust free is one of the most essential parts of coming home from a shoot with usable material. Make a habit of checking your lenses before shooting and periodically throughout. With a little care and proper handling, your lenses can give you years of beneficial service.

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Lens Cleaning Tips

After just coming back from vacation in Tunisia, it is now time to sort out and process all of our pictures. Our primary camera is the Canon EOS 350D (known as the Canon Digital Rebel XT in the United States). Our trip was to a seaside resort. Knowing we would be spending a lot of time doing water based activities, we thought it would be nice to be able to take some photos in the water or from the boats. Since we only wanted something to experiment and play with, we chose to find  a compact camera suitable for the job.

A search on Amazon landed us with the Easypix Aqua W311. At an affordable price we got a pretty nice compact camera for our needs. It seems this particular model is sold only in European markets, the American equivalent is the SVP Acqua DC-1231. Both are pictured below.

Easypix W311 Technical Specifications

The camera performed above our expectations. It can be used with or without the water housing. There is no problem loosing it with the included wrist strap, not to mention it floats nicely. Here are some photos we took at the Club Med Djerba la Fidèle (Thanks to Samantha’s siblings for being great models). The photo links have been scaled down from (2048 x 1536 landscape) to be more appropriate for this website.

Some amazing examples of aquatic photography can be found on the WaterHousing Surf Photography Group on flickr.

Digital water photography has finally went mainstream and affordable to the average consumer. There is a wide variety of compact as well as professional rigs available. B&H Photo Video carries a complete line of gear to make your existing cameras waterproof, as well as  waterproof cameras. There you can also find complete instructional and buying guides. The following are some nice examples of what you can find on today’s market.

Liquid Image Digital Underwater Camera Mask

Pentax Optio W80 Digital Camera

Snap Sights SS02 35mm Underwater Camera

SVP Acqua DC-1231 Digital Camera

GoPro Digital HERO 3 Sports Wrist Camera

Nimar NI303D Underwater Housing (Canon EOS Digital Rebel XT / 350D)

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Aquatic Photography

For sometime now, we have needed to extend our sound capabilities with a better microphone. Our Canon GL2 came equipped with a direction accurate omni-directional microphone. In most situations it works great, but of course as we began filmming more seriously a better mic was needed. Our first step was to add a shotgun mic that we could use off the camera’s shoe mount or attach to a boom pole. After reading reviews, blogs, and forum post we decided on the Australian made RØDE VideoMic. This is a studio quality microphone for a very affordable price. As the story goes Peter Freedman, the founder and Managing Director of RØDE Microphones, went out looking for a shotgun mic for his MiniDV camcorder. Much to his dismay, the only affordable choices were cheaply made mics with poor sound quality and performance. His mission then became to build an easily mountable mic with pro quality sound and low noise affordable to a wider range of consumers. Thus, RØDE Microphones turned out the VideoMic with great reception from customers. It is noted to be a great microphone for amateur and beginning filmmakers alike. It easily mounts to accessory shoes, tripods, and microphone stands. The integrated shock mounting is also a big plus. From the RØDE Microphones Website: The RØDE VideoMic is a professional grade shotgun microphone. Based on the latest ‘Film industry’ technology, the VideoMic is designed specifically for use with high quality Digital Video Cameras. The microphone exhibits low noise and an unusually wide bandwidth for its size. It is ultra lightweight, yet rugged due to it’s ABS construction. The VideoMic is powered by a standard 9V battery and offers a Low Battery LED status indicator and a switchable high pass filter to reduce unwanted low frequency rumble. The VideoMic attaches to any Camcorder that has the standard camera-shoe fitting and utilizes a stereo mini jack for audio output. Features:

• Studio recording quality
• Condenser microphone
• 9V battery powered
• Integrated shock mounting
• Two step High-Pass Filter – Flat or 80Hz
• Three step PAD – 0, -10, -20dB
• Rugged reinforced ABS construction
• Windshield included
• 3.5mm mini-jack output
• Integrated cold shoe mount, 1/4″ and 3/8″ thread

Specifications:

• Power: 9V battery powered
• Acoustic Principle: Line gradient
• Directional Pattern: Super Cardioid
• Frequency range: 40Hz-20kHz, selectable HPF @ 80Hz/12dB/octave
• Output impedance: 200Ω
• Signal noise ratio: 74 dB SPL (A – weighted per IEC651)
• Equivalent noise: 20 dB SPL (A – weighted per IEC651)
• Maximum SPL: 134dB SPL (@ 1kHz, 1% THD into 1KΩ load)
• Maximum output voltage Sensitivity: -38 dB re 1 Volt/Pascal (15 mV @ 94 dB SPL) +/- 2 dB @ 1kHz
• Weight: 176gm
• Dimensions: 65mmH x 250mmW x 102mmD

RØDE VideoMic

RØDE VideoMic Installation

RØDE VideoMic Stereo Jack Connection

RØDE VideoMic Polar Pattern

RØDE VideoMic Frequency Response

Optional Accessories Deadcat windshield, Boompole, Mini-boompole, VC1 stereo extension lead, VXLR XLR to 3.5mm stereo converter, DS1 desk stand and Tripod

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RØDE VideoMic

Several people have requested that I give a better explanation of how to construct our Camera Shoulder Rest. It has been several years since I built the device, but I will try to explain the best I can out of memory.

The frame was constructed of flattened steal. I bough a piece with pre-drilled holes. I cut the steal into two pieces, one being the camera arm and the other for the shoulder support. The shoulder support was then bent in a curved shape. Be sure to allow plenty of extra space for the padding to be added later.

The camera arm was then attached to the shoulder support with a nut and bolt. To give added support to the arm, I was able to find a curved bracket and bolted it between the camera arm and shoulder rest. The device is now ready to paint.

The handle was made from a small rubber-handled plastic flashlight. The light head was cut off using a hacksaw. Then with a long bolt and washers it can be fixed to the end of the camera arm.

I purchased some padding from a cloth shop and fashioned it around the shoulder support. Then secured it with needle and thread. Now with some cloth I sewed a sleeve that would fit around the shoulder support. This process proved to be very difficult. In hindsight it may have been easier to fix the padding and sleeve before bending and attaching the shoulder support the camera arm.

To make the design hands free I had to devise a belt system. I used nylon strapping that can be found in most hardware stores or cloth shops. On each end of the shoulder rest I made a loop, similar to a belt loop. After this another strap can be threaded through the loops to act as a belt around the wearers chest. A plastic buckle was used to fastened the belt around the chest. It also allows for easy adjustment. This will hold the camera rest down on the shoulder. To keep it from sliding off and making it a totally hands free design another strap was used. It was attached near the top of the curve of the shoulder support and running diagonally across the back, then attached to the belt strap.

The last step is to fix a method of attaching the camera to the camera arm. I used an extra plate from quick release tripod mount, then with a bolt and wing nut it can be moved and removed easily. I provided a diagram below to hopefully illustrate my design and meanings better.

I would like to add that there are also several good camera rest available for purchase for those not wanting to attempt your own model. Use the link below for a nice selection from B&H.

S-800 Super Pro Shoulder Support

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DIY: Camera Shoulder Rest – Part 2

One of the most valuable items in our equipment bag is the Sony Minidisc Walkman. These handy little gadgets hit the market in 1992 and have come a long way since. They were originally intended to be the replacement of audio cassettes as a recordable CD. They never caught on with record companies, so consumers never really had a chance to experience the advantages over other technologies. Only a few albums were ever printed for the Minidisc. Where the Minidisc did succeed though was in its ability to capture sound. The list of uses for recording sound on Minidisc are almost as big as your imagination. With a microphone you can record live music, dialog, sound effects, background noise, conversations, take notes, etc, etc. Optionally you can record directly through the line in port from any device outputting sound: computers, tape decks, radios, scanners, soundboards, VCRs, DVDs, Video Games, etc, etc. A headphone port allows you to listen in real time as you record. It is small enough to fit in your pocket and yet delivers amazing sound recording capabilities. Not only does it record, it does so at near CD quality if not arguably higher depending on the model you use. Recordings can easily be split into tracks for later review and handling. Tracks can even be edited straight from the recorder. What is even better about Minidisc is that they can be reformatted and used over and over again. Though we use the Minidisc for recording only, todays Minidisc recorders have the ability to not only play mp3s, but can be used as a USB mass storage device as well. The Minidisc offers a very small medium, it measures 7cm x 6.75cm x 0.5cm (2.75” x 2 21/32” x 3/16”). They are known to be virtually indestructible. A good resource for all things Minidisc is minidisc.org (The Minidisc Community Portal). The website is a bit hard to navigate, but filled with a lot of useful information and stories of people and their Minidisc.

We currently use the Sony MZ-RH10 Minidisc Walkman, introduced in 2005. If you plan on purchasing a Minidisc Walkman, be absolutely certain it is a Hi-MD model. which replaced and greatly improved on earlier models. According to Sony, Hi-MD is: Hi-Capacity, Hi-Battery Life and Hi-Quality Combine to Create Ideal Digital Music Solution Features:

• HI-MD WALKMAN with large 5 line LCD display
• MP3 / Atrac3plus direct playback
• SonicStage for easy music management and unlimited check outs of your favourite tracks
• Supports all popular digital audio compression formats: ATRAC / MP3 / WMA / WAV
• Remote control
• Record from multiple source: USB-in / Mic-in / Analogue-in / Digital-in
• Extremely fast music transfer from and to PC: 1 CD in less than 40 seconds
• Capable of storing audio, video and data files on your HI-MD disc (Word, Powerpoint, ATRAC, MP3, JPEG, MPEG, etc)
• Rechargeable battery, Charging stand, AC Power Adpater
• Long battery life of 25 hours
• G-PROTECTION Jog Proof
• Transfer up to 45 CDs onto a single 1GB Hi-MD disc (with Atrac3Plus compression).

Recording Modes:

• Linear PCM: (16bits/44.1khz, i.e. CD format) Over 1 ½ hours of recording time on a 1 GB HiMD disc.
• Hi-SP: (Sony ATRAC3plus encoding at 256kbps) Almost 8 hours of recording time on a 1 GB HiMD disc.
• Hi-LP: (Sony ATRAC3plus encoding at 64kbps) Approximately 34 hours of recording time on a 1 GB HiMD disc.

It is powered by a High-Capacity Nickel-Metal Hydride rechargeable battery. Our model also supports an attachment that allows it to run off a single AA battery. There are several other accessories available, making the Minidisc even more versital and practical than anything else on the market. We often use a Sony ECM-DS70P stereo microphone with the recorder. It captures very clear and crisp sounds, though it is a bit sensitive. Fortunately enough, the Minidisc Walkman has a variety of recording settings, such as mic sensitivity. As a music player it also has lots of features and abilities, but for our purposes the recording is the most important. I leave the mp3s to the iPhone. The only real drawback is that Sony software has to be used on your computer to process recorded tracks. However this can be done with a PC or Mac. If you need a method of recording sounds on location, this device can serve as a primary or at least backup recording system.

Before purchasing a Minidisc Walkman consult the Minidisc Community website to find out about the differing capabilities and characteristics of each model.

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The Sony Minidisc

Many times in photography and filmmaking we require the use of a tripod. They are beneficial for panning, low light photography, repetitive shots, etc. The beauty of a tripod is that they can be set up level on virtually any terrain or studio position. Personally I like to always work with a level tripod. For the same reason I try not to hold the camera tilted to one side or the other when I take shots freehand. There are auto leveling gadgets for tripods on the market to assist in this aspect, although I have yet to try any. I am very comfortable leveling with a simple bubble level. I worked for a professional land surveyor for eight years, where use and efficiency with a tripod was a must. One of the first things we ever had to teach a new recruit was tripod leveling. Maybe you find it easy, but believe me most people have problems with it. Actually all that is needed is practice and a few tips. In the end everyone develops their own preferences. After a bit of practice and under perfect conditions, I could set up the survey instrument level and have the field computer on in a minutes time. There is no reason setting up a tripod level for a camera should take any longer, especially since the level of precision needed isn’t even in the same ballpark.

Most tripods come with some method of leveling, either in the form of a circular bubble level or in the shape of a bar. If your tripod isn’t equipped with a level, one can be purchased cheaply at most any hardware store. The main problem with photographic tripods is the weight. They tend to be very light and have a compact design for easy transport. This might sound like an all around good thing, but the drawback is the loss of stability. Even the slightest bump can knock a tripod out of level. To help avoid this problem you can position heavy objects at the base of the tripod legs to help keep them from moving. If your tripod has a rotating head, loosen the motion locks before turning, thus allowing it to move freely to the next desired position. Also be aware that if you are set up for an extended period of time, regularly check your level. Changes in temperature can cause the tripod legs to contract, in result bringing your camera back out of level. The best tripods in surveying are made of wood and fiberglass, they are heavy enough to stay in position and are less effected by weather. The problem there is nobody wants to lug them around all day. When using the circular bubble level, it is also helpful to consider that the sun can draw your bubble away from it’s intended position. It is always best to set up your tripod with the bubble opposite of the sun’s position.

Setting a tripod level is as easy as 1-2-3. When setting up the tripod, first do not extend the legs fully, allow yourself a little room for adjustment. Take for example the following image. We have planted the legs (Represented By A, B, and C) and are ready to level.
Now adjust the tripod legs one at a time so that the bubble rotates in the direction of any one of the legs like so. In this example I moved it to Leg A.

Now Leg A simply needs to be lowered until level is reached. If during this process you find the bubble is not moving towards the center, adjust Leg B or Leg C to put the bubble back in line with Leg A.

So now the tripod is in level. Not precise enough to survey a boundary to layout a new shopping center, but good enough for most photography needs. If your tripod has a rotating head, you may want to install a small bar level if you don’t already have one. Optionally you may use a small inexpensive level like used for hanging pictures or carpentry. Simply place it on top of the head, and rotate the horizontal motion accordingly.

If you have the desire to reproduce shots like Harvey Keitel in the film Smoke by Wayne Wang, you might find the following information beneficial. The first thing I recommend is to have a means of attaching a small plumb-bob to the bottom of the center post of your tripod. You may have to be a little inventive in this process. Use an attachment such as a hook or even a swivel (used on a fishing line) to fix the plumb-bob string from. As long as the string hangs from the center position you are OK. Either before or immediately after you set up the tripod, you need to establish vertical control. On turf you can place a nail or tack in the ground. Be sure to attach some ribbon to the nail, or some other means of easily locating it. They can be easily lost in the shortest of grass. On hard surfaces you can use a marker, paint, sticker, or even carve out an “x”. With the plumb-bob attached and hovering barely over your vertical control marker, you will have no problem reproducing your position. Having your tripod level is also a must. I highly recommend that you always carry a notebook and pencil for taking notes. Using a regular tape measure note the distance from your vertical control point to a fixed point on the camera, such as the center of the lens or even a button, as long as you have it in your notes you won’t forget. To remember the horizontal angle you used in your shots, try rotating the camera until you find a suitable place for another control point. For example, if you are taking a panorama of a lake, turn the camera to a nearby tree. Put a mark on the tree directly at the center point of your camera’s view finder. You can then use this horizontal control as a reference in future shots.

Harvey Keitel in Smoke (1995)

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Tripod Leveling Made Easy

The two basic tools needed to film these days are a camera and a computer. Digital editing has brought filmmaking to a whole new level and availability. Now anyone with a half decent computer can do basic video editing in the comfort of their own home. Though it doesn’t take long to realize, a powerful machine can process video quickly and efficiently. The worst thing about computing has always been waiting on processes. Last year at Christmas, Samantha’s sister gave her a nice collection of flashy gadgets for a computer. We decided we should build a whole new computer to house these treasures. In the process it became apparent we would be building a whole new editing station to run on both Linux and Windows XP. We have never really liked off the shelf desktop systems. The low end models are too basic with junk for components The upper end models are way too expensive. Both are usually stacked with proprietary software and not to mention Windows Vista. I became interested in building my own machines about 10 years ago, and haven’t thought of doing it any other way since. To the novice it might seem frightening or too complex, but it is very easy and affordable. For film editing you basically have two platforms to choose from, Mac or Windows. If your choice is Windows or Linux or both then why not build your “dream machine”. If you prefer running a Mac operating system, you are probably better off to purchase a system from them. Though it is possible to build a machine to run Mac, there are legal issues in doing so.

One great advantage of living in Paris is Rue Montgallet. Located in in the 12th Arrondissement, this street and it’s surrounding neighbors are home of more computer stores than can be found anywhere I know of. Paris is funny in that way, if you want computer stuff you can go to the computer street, if you want a guitar you can go to the music street, the same works for photography and other areas of interest. Many of the stores there collaborate together in a website http://www.rue-montgallet.com/, but be forewarned, use it as a guide only. The stores are sporadic and prices and availability may vary slightly. The best thing to do is establish a relationship with an individual store, which we have, or you are doomed to walk the streets in crowed little shops looking for the right component at the right price. At any means by the end of the day you come home with better deals than you can find anywhere else. Back in North Carolina I found that the Internet is the best place to shop for computer components. For a good place to start, try places like B&H. There you can also find a full range of top quality computers for all your video, audio, and photo needs.

Maintaining a machine that has the best of modern technologies is tough. It takes no time at all for technologies to be replaced and advanced. We built our machine early this year, by now better components would be much cheaper. Though this might seem disheartening, if you build a machine that works good for you, stick with it. The number one advice I know to give in keeping your editing station working good is to keep it clean. It should not be your primary computer, limited exposure to the Internet and useless software will keep any Windows based system running a lot better.

There are many issues to consider when building your machine. What editing software do you want to use? What operating system is needed? How does your camera output? There are many guides online that deal with computer components and building systems. A few simple Google searches will yield a world of information. I will reserve any lengthy descriptions of components in this article. To build a machine the following hardware will be necessary:

• Processor
• Motherboard
• Memory
• Hard Drive
• Video Card
• DVD Burner
• Case
• Power Supply

Processor: We chose the Intel Core 2 Duo E6750 (2.67 ghz) for our machine. A good trick is to wait until a new processor is released and buy the previous version. The price will have been reduced and you still get something probably better than you had before. For editing video I recommend the best processor for the money you have available to spend, it will be the heart of your system. Research forums and reviews very carefully before you make this choice. For example at the moment Intel makes the best series, next week it could be AMD.

Motherboard: AKA mainboard. First it has to be a model which supports your processor. There are many companies making many models of boards, we chose the Asus P5K. The selection of a board is also critical to the performance of your machine. I would advise a large board with a lot of room for oversized video cards and to allow good air circulation. This was especially a concern for use because we have a Canapus DV Storm video acquisition card that we picked up on eBay a few years ago. Another important consideration is to have an adequate number of USB2 and firewire connections for your needs. Choose a motherboard capable of holding the maximum amount of memory (RAM), you will not be disappointed and it will help you get the most out of your processor.

Memory: We bought 4 GB G-Skill (6400 ddr2-800) of RAM for our machine, don’t go too cheep and get the fastest possible and also made by a reputable brand.

Hard Drive: Any new board you buy now will have SATA connections for hard drives. Which is really beneficial for video editors because of the increased speed. For any kind of serious editing I would advise having new hard drives, and even duplicates for backup. Don’t put yourself through the heartbreak of loosing all your data. There is only one hard drive I recommend, it is the Seagate Barracuda. Get one of sufficient size, recently we purchased two 1 terabyte drives for backups at a very reasonable price. You can do your own research but from our experience you will find nothing more dependable. For more information on how our backup system works, check out a post in Samantha’s personal blog about Building Our Backup system.

Video Card: Even if your computer has an onboard video controller, I highly suggest investing in a dual output video card. When editing it is very beneficial to have two screens running at the same time. We went with a fairly cheap card, the Nvidia Geforce 8400gs. For our purposes it works wonderfully. If you are handling 3D on the other hand, you should get something a lot better.

DVD burner: We went with a Pioneer DVR-212. It has a SATA interface and capability of burning dual layer DVDs. According to your specific needs, you may wish to have the capability of burning Blu-Ray, which we do not at this time since we do not film in HD.

Case: Now you have all you need to process and you need a house to put it all in. I do not suggest getting a case with a built in power supply. These can be noisey or not carry enough watts to keep your system healthy. Since we had all the bells and whistles from Samantha’s sister, we needed a case with a window. Cases can be bought for half the price we paid for ours, but for both of us it was love at first site. We got the Antec Nine Hundred hardcore gaming case. It is simply loaded with features and looks good too.

Power Supply: Don’t go cheap! Get yourself at least 500 watts and preferably by a superior brand. Cheap supplies tend to be unreliable in their power delivery and very noisey. Again, as with all components, Do The Research.

We also added a simple 16 in 1 card reader on the front panel. So with a lot of screwing, plugging, and arranging, we built a great editing machine for a bit less than €500. Note though that price does not include screens or the Canapus card, which we already had. Note: a video acquisition card probably isn’t necessary for your machine, it is an added luxury you can probably do without. Also, you will of course need an operating system, e.g. windows and or linux and your favorite editing software. The night we put it together we took a few pics, the end product looks like this.

OK it looks like a night club, a bit unnecessary for video editing. But it gets the job done and life should be enjoyed.

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DIY: Building An Editing Station

Yesterday we filmed an exhibition opening at an art gallery in Montmartre, Paris. As i mentioned in an earlier post, I intended to film in Wide Screen (16:9) for the first time. Our camera, the Canon GL2, offers two options to film in Wide Screen:

• The first option is to display two lines (one of top, one of the bottom) showing the limit of the 16:9 frame. You can then film in 4:3 and, when post-producing, generate a 4:3 version and/or a 16:9 version. If you respected the lines while filming and framed making sure that no important information was outside the limit, both versions will be OK.

What you see in the viewfinder

The resulting squared ratio image

The resulting wide image

• The second option is to modify the aspect ratio and film in 16:9. In that case, in the viewfinder, you will see what you are framing but resized to a 4:3 ratio. It will make everything look squeezed and distorted but when played back in the correct ratio, the image will be perfect. While you film, you can rely on what is and what is not in the frame which is the strong point. The weak point of course is that everything you see through the view finder is deformed by the 4:3 ratio.

The image as seen in the squared viewfinder

The image as seen in the resulting wide screen movie

As this was my first time filming with that ratio, I expected difficulties framing but it actually came naturally. The only thing that disturbed me at first was that I had to place myself a little bit further away from a painting to film it entirely since, to film 16:9, the camera has to blow everything up a little bit. I quickly adjusted to that and all my instincts fell back into place.

As for what the ratio brings, well, it enables to put more characters or more action in the frame which brings more depth, more life to the images. It also looks more like the movies we’re now used to and I think it is now a necessary thing for video makers to do. We just can not afford to keep using 4:3 when everything else people watch is shot wide. At no point did I feel like I missed the 4:3 ratio, I doubt I will be going back.

Please don’t hesitate to comment on your experience if you already switch to 16:9, let us know why and when you switched and what you like and dislike about this ratio.

Post from: World Wide Angle

Filming in Widescreen

Rather you are a professional or amateur camera user, you probably have experienced fatigue after shooting for extended periods of time or had difficultly keeping the camera steady under certain situations. A few years ago Samantha came to the conclusion that we needed a shoulder rest for our camera. One day she came home from work with a piece of paper of a rough design and told me I was going to build one for her. After looking at several models available for purchase, we came to the conclusion it was a good idea to give it a try. No one model at the time had all the features we thought would be beneficial and would of stretched our pocket book at the time. We set a budget of €50, roughly equivalent to $65. This price also included the tools needed for construction, such as a drill, file, and hacksaw. I had just moved to Paris and unfortunately I had to leave behind a multitude of tools back in the US. Our first stop was Leroy Merlin the French equivalent of stores like Lowes Hardware and Home Depot. I have always like to design things in the hardware store, looking at pieces and get inspiration of what all can be possible. The design was simple, piece of flattened steel, some nuts and bolts, a flashlight (for the handle), and a nylon strap. We then went to a fabric store for cloth and foam padding. The most expensive piece of the whole design was the purchase of a €16 tripod mount from Fnac. With tools in hand I put together what we affectionately call the Cam-Perch. The hardest thing in the whole construction was sewing the shoulder pad together. We’ve had great success with the Cam-Perch. It offers a stable and adjustable method of holding the camera. It can be strapped on offering more control and hands free filming as Samantha discovered while she used it while riding a bicycle through NYC. Actually she was even stopped by a filmmaker who inquired about it. I told her I wished she would of sold it to him on the spot, but she would in no way part with it. The Cam-Perch was first designed to mount a small camcorder, but holds our Canon GL2 just fine.

For those of you wishing to build your own shoulder rest you can take ideas from my design or ask questions, which might lead to another post of how to construct it. You can also check out http://www.instructables.com/id/DIY-camera-shoulder-rest/ for a very good tutorial on how to make a simple and cheap shoulder rest.

NOTE: This post has been continued DIY: Camera Shoulder Rest – Part 2

There are several good camera rest available for purchase for those not wanting to attempt your own model. Use the link below for a nice selection from B&H.

S-800 Super Pro Shoulder Support

Post from: World Wide Angle

DIY: Camera Shoulder Rest

John Cassavetes filming Shadows

It doesn’t take long to realize that filming requires more than just a good camera. It takes a lot of various equipment to make a video project come together. The first thing you will discover when you want to experiment with new techniques is that video equipment is very expensive. The good news is that with a little ingenuity, motivation, and a do it yourself (DIY) attitude you can make much of your own equipment reasonably cheap. A lot of people tell aspiring filmmakers that they don’t have a chance. That the business is too closed to outsiders, especially here in France. Well I for one refuse to that advice, but I keep it in mind. Just as with the popularization of hand held cameras in the late fifties a “New Wave” of filmmakers were born, today we stand at another crossroads. Filmmakers do not necessarily need to rely on big distribution companies anymore. A whole new audience has arrived via the Internet. Thus increasing the possibilities for new talent being discovered. If you have a drive to make your own films you can get it done, take John Cassavetes for example. His tactics for making films are now that of legend. Unable to receive funding from conventional sources, he looked anywhere he could to bring things together. From his own personal savings, acting in several films, contributions from friends, and multiple mortgages on his home, he was able to find the necessary money to make his films. He cast and crew consisted of friends, students and other volunteers. He has even been know to siphon electricity from a city power line. Ultimately though, the mark of his films was the passion and edge represented in the final product and not the methods he went about to achieve them. Since then several guerrilla filmmaker have made their mark on Hollywood. Most notably people like Spike Lee and Robert Rodriguez. One very important issue to consider though when looking to save money is the legality of what you do. For example shooting without permits in certain locations could cause yourself a lot of trouble. Also if you film in a professional environment, it is not a good idea to look cheap. People like to know they are paying for quality, and unfortunately appearance can play a hefty role in that aspect. As we begin in our own films, the issue of equipment and money is very near to us. It will be necessary for us to save money and cut corners whenever we can. Personally I have always liked to invent and make things, which is an added bonus. Also you may find, as I do, that what you might need simply doesn’t exist or needs modification. In upcoming post we will talk more about specific ideas and techniques to keep the cost down and have quality equipment on hand.

Post from: World Wide Angle

Introduction to Guerrilla Filmmaking

Up until this fall we have shooting footage with a basic JVC Mini-DV camcorder. All and all, it served us very well as we were starting out filming artist and vernissages. Maybe by disaster or fortune, it finally bit the dust and forced us to invest in another camera. We had longed talk about needing a better camera and advancing in our work in video, so it did not take us long to decide we needed more of a professional camera. The big question for us was rather to make the switch to HD. After toiling over the question for weeks and hours of research the decision was conclusive that we invest in the best camera for the money we could spend and wait for the prices of HD cameras to become more reasonable. The primary reason we decided against HD was that a professional grade camera was out of our price range. We could of easily bought a lower end model, but none available appealed to our needs. Many people today are on the HD craze it seems but fail to realize that unless you distribute your media via Blu-ray disc there really isn’t any advantaged gained. We also had issues of features, accessories, and appearance. We wanted something to give us the most advantages when filming and also it had to look professional.

So now we had to chose from several great DV cameras on the market, after many Google searches, reading reviews, eBay and Amazon watching, we finally we found the Canon GL2. It is a wonderful camera with excellent optics and processing. From everything I’ve read it has become the industry standard for professional video capturing, especially amongst documentary makers. There is no need for me to go into a lengthy discussion of all the specifications and features of this camera, as it can be found on dozens of websites. I will say though we are excited about this camera feel like our money was well spent, and most of all we are ready to put this thing to work!

Post from: World Wide Angle

The Camera Makes The Difference