Canon Quick Guides- Downloadable PDF files

Canon Quick Guides

Canon QuickGuides are a free downloadable resource for EOS cameras and accessories. These PDF cheat sheets are helpful tools to carry around in your camera bag for quick reference, or to read from your computer for step-by-step guidance on specific product features and techniques.

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QuickGuide to EOS Focusing Screens: 
This guide will help you understand the benefits of using accessory focus screens. Learn the basic screen types and series, camera compatibility, proper insertion and removal of focus screens, as well as care and handling.

QuickGuide to EOS DSLR Video Recording:
Canon offers several SLR camera capable of shooting HD Video footage, including the EOS-1D Mark IV, the EOS 5D Mark II, and the EOS 7D. Learn the differences between these cameras, and how to select, set up, and start shooting video on all of them.

QuickGuide to EOS 7D Autofocus Modes: 
The EOS 7D has an advanced 19-point, all cross-type AF system, and this guide helps you make the most of it! Learn about autofocus features such as AF Shooting Mode options, selecting and expanding AF Points, and how to use Zone AF.

QuickGuide to Accurate EOS Autofocus: 
This guide will provide tips on how to ensure accurate and consistent focus with your EOS system. Master concepts and practices such as Diopter Adjustment, AF Point Sensitivity, Micro-Focus Adjustment, and more that will help you better understand your camera's AF system.

QuickGuide to Canon EF Lens Features: 
Familiarize yourself with the variety of features available on EF lenses, and how to effectively use them on EOS cameras. You may find it useful to have your EF lens(es) nearby as you review this information, to confirm what features they have and how they function.

QuickGuide to Quick Control Screen Operation:
The purpose of this QuickGuide is to familiarize you with the features available in Canon’s Quick Control screen interface and the benefits of using it.

QuickGuide to EOS Live View Features: 
This QuickGuide will review all of the features available for Canon EOS cameras when used in their Live View mode. Learn how to enable Live View, the various options in still and movie modes, as well as use of Live View for Silent Mode Shooting

QuickGuide to EOS Custom Functions: 
Learn how to customize your EOS camera for individual shooting preferences, unique photography styles, or to maximize camera performance for any situation. This Guide covers several of the most common Custom Functions across the EOS line, including how to access, save, and use each setting.

How to set the White Balance on a Canon T2i or 7D

Here is a video on how to set the white balance on a Canon T2i or 7D:


Custom White Balance on T2i (550D) or 7D from Orange Wedding Films on Vimeo.

Colored Gels- Light Up Your Video

Colored Gels- Light Up Your Video

Smith-Victor Universal Filter Holder

Smith-Victor Rainbow Pack 12 X 12" Color Effect Gels 

When discussing color, it is important to understand the difference in color of light versus color of pigment. As taught in school, the primary colors of pigment are red, yellow and blue; mixed together they will make black. However, in light, the primary colors are red, green and blue; when mixed equally together,the end color will be white light.

When we talk about adding color to the lights, what we're really suggesting is adding a specially-made transparent piece of colored plastic in front of the lights. This plastic is known as gel, color media, color filter or just color. The gel is a special transparent or translucent piece which can withstand higher temperatures (although it may fade in color as time passes and should be replaced). This is the most common type of medium used to color lighting. Other methods include a more permanent glass filter or lamp dip (Colorine) for applications where low wattage will be used and gel is inappropriate.

Gel is applied in front of the lights using a color frame. This frame allows a piece of gel to slide in between the two panels. Then the frame fits in the slot located at the front of the fixture.

Cool colors include those in the blue-green-violet range. Warm colors include the red-yellow-orange range. Generally, it is ideal to add a cool color to one ofthe 45° angled front lights, and a warm color to the other. This will provide agood color of light on the actors' faces or set, and give the illusion of depth.Together they should mix to white light (unless a specific effect is desired).

Color in the rest of the instruments depends on what feeling or mood you want your area to convey. For example, if you have a cheerful, fun musical, you'd most likely want to use warm, vibrant reds, pinks, ambers, etc. but you are the designer, so the choice is up to you. - From Vincent Lighting Instruction 101

Examples:
1) If you are filming people around a campfire and you are using a daylight-balanced light, you will end up with video that has white illumination. To turn that shot into a more dramatic shot, you can add a warming(red-yellow-orange range) gel over your light to capture a golden color of the fire glowing on your subject. It will make it seem like the people were lit naturally by the fire.

2) When filming neutral subjects against a sunset, a warming gel helps in matching the golden light of the sky. This will help balance your foreground and background light.

3) When you are shooting a scene with a mixture of indoor and outdoor light sources. You can use the gels to match which ever light source you want. Blue gels will give it a cool look whereas orange gels will warm up your light.



Tech Tip - Gels and Diffusion from Framelines TV on Vimeo.

Self Filming Tips with a DSLR- From SOLO Inception Blog

Self Filming Tips with a DSLR- From SOLO Inception Blog

So I came across this video tutorial early this morning and thought it would be a great clip to share. I almost moved past it because it was a bit geeky and I didn’t know if it was going to get to the point but then he surprised me with a little great info on the DSLR features and set-up for Self Filming. Bare with me on this one guys.



So I don’t know about you but I really thought this was a great tip. Not that I ever have my computer present when I am filming an interview but the little quick tip on the auto focus prior to recording is a great feature to know while self filming. I hope it helps some of you out.

Insane Archery's Camera Bow Mount

Insane Archery's Camera Bow Mount





The InsaneArcheryTM Camera Bow Mount was designed to provide unparalleled versatility. With a host of unique features, this mount excels were other have failed. By incorporating a simple yet flexible design, this product can be easily installed on almost ANY bow, including crossbows! It has a standard 1/4"-20 male mount and is compatible with anything that mounts on a standard tripod.

Top 7 Reasons to get an Insane Archery Camera Bow Mount

1. Ultra-Tough Camera Mount is Virtually Indestructible
Constructed of state-of-the-art materials, the InsaneArchery Camera Bow Mount is virtually indestructible! So how tough is it? It's been designed to take the punishment of the outdoors and years use. It'll definitely take a lickin and keep on clickin!
Don't just take our word for it; watch this video and decide for yourself!

2. Constructed of State-of-the-Art, Lightweight Materials
The most important thing to any bowhunter is weight... and the lighter the better. All together this camera mounting solution weighs in at a mere 2.8 ounces. That weighs less than $3.50 in quarters! Incredibly, the box that the Camera Bow Mount ships in weighs MORE than the mount itself! This is accomplished by utilizing state-of-the-art materials that provide the ultimate strength and durability while maintaining its extremely light weight.

3. Captive Hardware Means Never Having to Look For Parts!

The InsaneArchery Camera Bow Mount has incorporated 100% captive hardware which eliminates the need to use tools once it's attached to a bow. That means no loose screws, nuts or bolts that could fall off in the blind or tree stand. Dropping a small piece of hardware from your tree stand would definitely ruin your video experience.

The result is an "all in one" unit that once mounted to the bow, is totally self contained regardless if the camera is mounted or not. You never need to hunt for a nut or wrench to attach the camera. Simply align the base screw with your camera's tripod mounting hole, normally located at the bottom of the camera, then hand-tighten using the large, easy to grip rosette knob.

Large rosette knob is easy to grip, even
in cold weather when you're wearing thick
gloves.

Locking e-clamp assures that the camera mount knob and tripod screw stay securely attached to the swing arm, regardless if there is a camera attached.



4. Patent Pending 180º Range of Motion- Most Versatile Camera Mount On The Market
Why should you have to buy a left-handed or right-handed mount? Why not have a camera bow mount that will work on either side of your bow? How about the ability to effortlessly and quietly move the mount from one side of the bow to the other without the use of tools? The InsaneArchery Camera Bow Mount answered all of these challenges and more with its Patent Pending, 180º range of motion swing arm! The camera mount swing arm can effortlessly be moved into one of 5 semi-locking positions, without ever being removed from your bow, making it one of the most versatile camera bow mounts on the market today!

No Hassles
No Limitation
No Compromises










5. Ultimate Versatility With Multiple Mounting Options


In order for a camera bow mount to be truly versatile it needs a supports multiple mounting options on your bow. Most mounts allow you to position the camera ONLY over the stabilizer. Or worse yet, they require you to totally replace your stabilizer! What if you're hunting from a ground blind... when you draw your bow, where is your stabilizer? That's right; it's BELOW the blinds shooting window. That means you miss the video completely. Because of the superior design of the InsaneArchery Camera Bow Mount you can position your camera anywhere on your bow. This unique capability allows for the mount to be used on virtually any bow and in any circumstance; tree stand, blind or even while stalking.

Figure 1 and 2 shows how the mount can be attached directly over the stabilizer. This is probably the most common mounting location. However, Figure 3 and 4 demonstrates how the InsaneArchery Camera Bow Mount can be attached to your bow utilizing any of the cut-outs on the bow risers ; above or below, top or bottom of your bow - the choice is up to you. Figure 5 and 6 show how the mount can even be attached to the bows site - perfect for when hunting from a ground blind. Even when the mount is attached to either of these alternative locations, the camera mount swing arm can still be easily rotated forward to position the camera out of harm's way, then quietly back into position when the time is right.


CROSSBOW CONFIGURATION

The InsaneArchery Camera Bow Mount can easily be attached to almost ANY crossbows on the market today. Because of its flexible design, the camera bow mount can be attached to the crossbow using any of the manufacturer cut-outs.

Be sure to order the Crossbow Adapter and Hardware Kit.



6. Take Care of Your Investment- Ultimate Camera Protection

Another important feature is the ability to provide some camera protection while walking to or from a hunting blind or tree stand. When a camera is in a permanently fixed position on the side of the bow it can be easily scratched or damaged as you walk through the woods to your hunting location.
It's equally awkward to have the camera protruding from the bow as your try to quietly stalk an animal. By using the swing arms locking mechanism, you can store the camera in the forward posit ion aligning it in the natural shape of the bow. For example, if you mount the camera above the stabilizer you can position the camera to be directly over the stabilizer and aligned in the same direction. This makes for a more natural fit and helps protect the camera when walking. When it is time to use the camera, it can easily and quietly be pulled back into the desired recording position.

7. Ultimate Portability- Never Needs To Be Removed From Your Bow
The design allows for the InsaneArchery Camera Bow Mount to fit in the travel case while still attached to your bow. The system can be permanently attached to your bow and does not need to be removed every time you pack the bow in a hard shell travel case. By moving the camera mount swing arm to the forward position (straight forward from the bow, directly above the stabilizer), the bow can be easily placed in the travel case without the camera mounting system being loosened or removed from the bow. As you can see below, the system can easily be used with a number of different sized cameras and camcorders.
Things that have to be removed from your bow for travel have the potential to be left behind!

Read a review of the product HERE

Show Openers- How To Hook the Viewer

Show Openers - How To Hook The Viewer

Congratulations to DrivenTV's Pat Reeve and Nicole Jones for winning the 2012 Golden Moose for "Best Show Opener"

What make's their show opener a winner?
• Subject
• Shots and camera angles
• Editing
• Voice Over
• B-Roll Footage
• Music
• Speed

Subject- Make sure your opener contains subject matter that is going to instantly resinate with your audience. For example, DrivenTV chose to use the "kill shots" that will be seen throughout the season. This not only instantly draws the audience in but it also keeps them watching every episode to see that kill. Tip: Go back and watch the opener again and count how many of these "kill shots" that are there.

Shots and camera angles- Pat is a pro at capturing all angels of the action. This is done through having multiple cameras. Don't feel like you have to have 5 professional cameras to get these different angels; POV cameras are lightweight and capture HD footage and are a cost-effective way of adding more camera angels. Think creatively with this, imagine what the scene would look like if it was from above, imagine if you were hiding in the grass. Go high, low, tilt, behind, in front, with your camera.  If you don't have the budget for multiple cameras, do recreates.
Example: You want to have your camera on the animal to get the kill shot, after that shot you go back and do recreates.
Recreate 1:If you are bowhunting, you want to get that video of the hunter pulling back the bow and releasing. (Hunter in Full Frame)
Recreate 2: Close up shot of the hand pulling back (Close up video on the hand)
Recreate 3: Post-shot Excitement (sometimes this can be hard to fake the real emotion, still take multiple cuts of this, you can always delete it later)
Tip to think creatively on different angles: Take a chair, or another object and set it in front of you. Look at this list of prepositions. Now apply those words to the chair as if you were filming it. Example: Different perspectives that you can get from one chair- the chair from above, film the chair across from it, circle the chair and film around it, film the chair from below it, film the chair from behind it, sit in the chair and get the perspective from among it, film the chair "despite it" by making the chair blurry and the background in focus, you get the point. Take a look at our Production Elements Blog for more information on different camera angles. 

B-Roll Footage- B-Roll footage is extra footage that you film of random things around you that you can give to your editor so that he can use in post-production to help tell the story and help move the story along. Examples from the clip above: Time lapses, lightning, shots of animals that aren't the "kill shots", etc. Time lapses are great b-roll footage because they help convey the sense of time moving. You can film time lapses anytime and your editor can plug them in anywhere throughout the season. The viewer won't know that that sunrise or sunset didn't happen right after the clip before. Here is a great example of some B-Roll footage from one of our Video School Graduates. He created a short film, but he can go back and use some of these clips in his hunting videos as b-roll footage.

Kansas from Mike Stephan on Vimeo.

Voice Over- Voice overs are an important part of your show opener because it is the one chance you have to tell a new viewer what your show is all above. Pat and Nicole chose to explain why they are "Driven". If you decide to use a voice over in your opener, you need to make it dramatic, compelling, and intense. Watch the first 45 seconds or so of this episode of Swamp People to see how they used a dramatic voice over in their opener. http://www.history.com/shows/swamp-people/videos/swamp-people-the-last-battle
However, sometimes no voice over is needed at all, the music is dramatic enough, like the 2011 Golden Moose Award Winner for best Show Opener- DrivenTV


Music- Music is what will make your video clips and b-roll footage flow together. Go Back and play this DrivenTV Opener and close your eyes while you watch it and just listen to the music. Think about how the music changes how you feel and what you are thinking. The music should be captivating all by its self, especially if you do not use voice over. If the tv viewer was in the other room, the music from a show opener should draw them in without ever watching a second of video. To become good at choosing the right music to go with your clips you need to become more aware of the influence of music in video. Next time you are watching a TV program or a Movie just close your eyes for a few seconds and just listen or really start focusing how editors use music to convey an emotion. Explore video sites such as VIMEO to see examples of music integration into other people's work. It is important that you NEVER use copyrighted music for your video as you can get in a lot of financial trouble for this. You MUST read the agreement before you use so call "free" music because it will say that it is illegal to use if published, even to a site like youtube or Facebook. By a subscription to stock music for 100% security.

Speed- A key thing to remember is you want your music to match your video clips. Notice in the DrivenTV 2012 opener and when the music starts to move faster so does the clips, also the music gets louder as the clips get faster as well. Some editors prefer to find the music first and then edit the clips accordingly, others the other way around. There is no one set answer or one set way to do things.

Editing- The editing part is crucial. You can have the best clips in the world, but if you do not put them together correctly, it can loose its effect. A good rule to follow is take your "subject" clips and throw in some clips that don't really have anything to do with anything but help make the video flow- or B Roll Clips (time lapse, walking in the snow, etc.). To learn how to edit your hunts, I would recommend attending the Adobe Premiere Editing Class at Campbell Cameras Outdoor Videography School. Tip: Start watching your favorite TV Programs (inside and outside of the outdoor industry) and really pay attention to the different editing techniques that those shows are doing, transitions, graphics, titles, b-roll footage, voice overs, etc., to get ideas to incorporate into your show.

Don't try and create a show opener just like DrivenTvs or other shows out there, but use things you see, hear, and learn by watching different openers and transform it to make it your own! Good Luck and we would love to have you comment below with links to your show openers or if you have any question feel free to comment and we will answer them.

Tips on Editing with Adobe Premiere

Tips on Editing with Adobe Premiere

Check out some of the videos with some tips for editing with Adobe Premiere


Adobe Premiere CS5.5 & FCP 7 - Intro & Roundtrip from Vincent Laforet on Vimeo.

Here is an in-depth video on editing


Detailed Adobe Premiere & Dynamic Linking Workflow from Vincent Laforet on Vimeo.


Adobe Premiere Pro CS5.5- Complete Pacakge for Windows or Mac 

Adobe Premiere Pro CS5.5 for Mac is professional nonlinear editing software that allows editors to work directly on the timeline with every major tapeless camera format, including P2, XDCAM EX/HD/HD50, JVC ProHD, AVCHD, AVCCAM, DPX, RED R3D, Canon XF, and Nikon and Canon DSLR. Support for these formats is native, so no transcoding or re-wrapping is required.

You can also import and export most other popular video, graphics, and audio file formats, such as FLV, F4V, MPEG-2, QuickTime, Windows Media, AVI, BWF, AIFF, JPEG, PNG, PSD, TIFF, and more. (DV and HDV capture via FireWire is, of course, still supported as well.) The powerful software allows you to mix these supported formats on a single timeline, with high-quality scaling and flexible interpretation rules that engender exceptional output from mixed-format footage.

To support flexible, fast, and powerful creative editing, Premiere Pro CS5.5 features the 64-bit Mercury Playback Engine, which delivers astounding software performance with or without GPU acceleration from your graphics card. For this version, CS5.5 offers additional GPU-accelerated filters and effects. Tight integration with other Adobe Creative Suite programs has long been a hallmark of Premiere, and for version CS5.5, Adobe adds round-tripping of projects with Audition CS5.5 for fast, flexible audio editing.





From more information and to learn editing techniques specific to the outdoor industry attend the July 25-27, 2012 Adobe Premiere Editing Class at the Campbell Cameras Outdoor Videography School.


Adobe Premiere Editing Class
This three-day, hands-on course teaches students hard-to-find editing and finishing techniques with an emphasis on outdoor production. Learn how to create polished transitions, edit multi-camera projects, creating a storyline, and learn how to composite like a pro. We also cover workflows for managing music and working with different video files.

On the first day of class, you will get to know Adobe Premiere basic functions including the layout of the software, importing files, and how to manage those files. You will learn the importance and creative process of building a storyboard. You will dive into the editing of different video clips and the timeline. Primary and secondary angles of a Turkey Hunt along with some B-Roll footage will be given to you for you to create and edit a basic story.

The second day of the editing class is all about fine tuning an edit. You will be given primary and secondary angles of an Antelope Hunt with interview clips and b-roll footage to build another basic story. The instructors will walk you through when to use and not to use transitions, sound effects, music, color correction, lower thirds, J cuts and L cuts. Close to the end of the day you will be preparing and starting the final edit of a Whitetail hunt with primary, secondary angles, interviews, and B-roll footage.

On the third day, you will learn about exporting formats and using Encore to burn a DVD. You will add the final touches to your edits before the class critique. There will be a class critique of all final edits in which you have the opportunity to see how others cut the same footage differently. After all the critiques and instructor tips are complete, a certificate presentation will follow.

- All computers brought by students must have a 7200 rpm hard drive! This is very important. Editing video won't work on a 5600 rpm drive. Its just too slow.

- Everyone needs to bring a pair of headphones.

- Even if using a laptop, we recommend everyone has a mouse.

- The class will be taught using Adobe Premiere CS 5.5 for Windows or Mac however there are several versions of Premiere that will be allowed if you have already purchased the software. You must come prepared with it pre installed on your computer. Call for details

When: July 25-27, 2012
Where: Carmi, IL
Price: $2,000/Person*
*Price includes lodging and food.
Taught by: Aaron Coston, Editor of the Campbell Outdoor Challenge

How to modify a construction work light for video

How to modify a construction work light for video



Modifiying a construction work light for video purposes. from LoweRuno Productions on Vimeo.

Here I share what I have done to modify some work lights that can be found at the hardware store for use as video lights. Keep in mind these lights become hot so take care where they are placed and keep a fire extinguisher in your equipment box just in case. I have never had a mishap but it is better to be safe then sorry. The good points about these lights are they are cheap and readily available. The cons besides the heat are they draw alot of amps so do not plug them all in one electrical outlet but use outlets on opposite walls to draw from different breaker circuits. This avoids tripping breakers needlessly. I have never had a mishap using these lights nor tripped a breaker and I have been pleased with my results so far. I do plan on purchasing cooler flouresent light banks in the near future, but until I can afford them, this offers a nice temporary solution.

Keep in mind you are using lights designed for one use and applying them to another use completely. You therefore proceed to modify/use them at your own risk and Lowe Runo Productions cannot be held liable in any way.

In addition I have found these lights to be very warm. Around 2300 to 2700 kelvin... So dont try to mix them with daylight or even 3200-3400 K lights unless you are going for a warmer mixed look."- From Lowe Runo Procuctions

Interview Lighting Techniques

DSLR Lighting Techniques from Eve Hazelton from Realm Pictures on Vimeo.


Some different Lights that can be used for this type of set-up includes:

Bescor LED-95K Kit

Smith-Victor KSB-500 Economy Softbox Light Kit

Joby GorillaTorch Blade

Joby GorillaTorch Flare

Adding depth to your shot

Adding Depth to Your Shot

Most people associate "Depth of Field" with DSLRS. One of the most appealing aspect of filming hunts with a DSLR is the shallow depth of field that you can achieve.
For more information of manipulating depth of field check out our older blog here.

Heartland Bowhunter is a great example of hunting shows utilizing DSLRs to add another creative element that makes their show top notch.


The Breaks from Heartland Bowhunter on Vimeo.

With DSLRs, interchangeable lenses that stop down to wide apertures allow you to get those super-cinematic shots, capture bokeh, rack focus, and separate your subject from the background, drawing your audience's eye to the details you choose. Adjusting aperture to obtain shallow depth of field is a great trick, but let's not get stuck in thinking that it's the only way to add depth to your shots. - From Riley Hooper VIMEO STAFF

Now, most of us do not have the budget to add a DSLR. There are some other ways that you can add "depth" to your shots. Here is a great tutorial from Realm Pictures that explores 6 ways to add depth in your videos, most of which do not call for a DSLR.


UWR Week 11 - Making the 2D look 3D! from Realm Pictures on Vimeo.


All right! Let's recap what we just saw:

1. Depth of field
The wider your aperture (meaning the smaller the number), the shallower your depth of field. As you can see in the tutorial, when shooting at f/22, both Eve and the background are in focus. However, opening up the aperture to f/1.4 creates shallower depth of field, where Eve is in focus while the background is not.

Remember that when you change your aperture, you need to compensate to maintain your exposure. When shooting on a DSLR, you usually want your shutter speed to remain at 1/50th or 1/60th of a second (depending on your frame rate), so you'll want to compensate for a shift in aperture by changing your ISO.

If you're shooting outdoors on a sunny day and your ISO is set as low as possible but you still can't open the aperture wide enough to get the shallow depth of field you want, try using a neutral density filter to decrease the amount of light hitting the sensor. This fun video by stillmotion offers further explanation.

2. Backlighting
Sometimes adding depth is as simple as adding backlighting. As seen in the tutorial, when the sun is behind Eve, a natural line of light around her head and shoulders separates her from the background. The same principle pertains to a three-point lighting system. When using artificial lights indoors, backlighting helps the eye distinguish the subject from the background, thereby adding depth.

3. Foreground elements
Adding an element to the foreground is another simple way to add depth. Placing something closer to the camera gives context to the shot and helps better define the placement of your subject.

4. Perspective
Changing up your shot composition and getting creative with angles also can add depth. The shot with Eve in front of the shed is composed on one visual plane. However, by moving the camera to the side and shooting at Eve down the line of the shed, the vanishing horizontal lines of the structure create depth and draw the focus towards her.

5. Parallax
Parallax is not the name of a more relaxed parallel universe — it’s a property of visual perception whereby an object looks different when viewed from varying angles. In the tutorial, this effect is achieved by moving the camera along a glide track so that the foreground elements move faster than the ones in the background. This contrast accentuates the difference between the two planes and — you guessed it — adds depth.

6. Smoke and Haze
Bet you weren't expecting this one! In the tutorial, the air behind Dave is filled with smoke. Since there is less smoke between the camera and Dave than there is between Dave and the wall, Dave really pops out from the background.

Recovering Lost Data from SD Cards

Recovering Lost Data from SD Cards

We have all been there, one time or another, when we go to transfer our footage or pictures from and SD card and realize that the files are corrupt or lost all together. Here are some different techniques to recover those files and to help eliminate the problem all together.

How do files get corrupt? If your camera goes off during the writing process or you remove your card while that camcorder is on or in the writing process. 

With the advancement in technology of video cameras now filming with SD cards, the advantage was that you can record for longer times without have to transfer tapes every 50 min. However, if you are on an important shoot, it can be helpful to use smaller cards (8gb, 16gb) and shoot across multiple cards to eliminate losing all of your footage. Also, when transferring your footage to your hard drive, it is a good practice saving them on two different hard drives so that you always have a backup.

However, there will be a time when you have a corrupt file with import video footage that you will need to recover. We have had very good luck with several recovery programs including Data Rescue (for PC or MAC), Lexar Image Rescue (for PC or MAC), SanDisk Rescue Pro, and SanDisk Rescue Pro Deluxe. It is a good idea to keep one of these softwares on your computer at all times because you don't want to find yourself in a tense situation searching google for a recovery program.

If there is corruption on the card, you can either use MAC OSX's Disk Utility, or Windows' built-in disk utility, and try and get your images back. If this does not work, the best solution is to try a third party software. It is usually best to start with the SD card Brand's recovery program, although they do not always work. SanDisk is listed above. Here is Kingston's Memory Recovery Site. 

It is fairly simple to recover a file that you have accidentally deleted. If you accidentally delete a video or picture file on your SD card you want to immediately stop using that card. When you delete a file on a Card, it tells the card that it is okay to write over that if it needs to, therefore, if you continue filming then you are telling your card it is okay to write over.

If you format your card, you are either performing a High-level format or a low-level format. High level just changes the boot partition, and tells the card to overwrite the blocks. The blocks actually still contain the data, and as you write the new content to the card, those blocks with the old data get overwritten with new data. Immediately after high-level formatting your video files are still there just not visible. You can use recovery software and try to recover those lost images. However, low-level format writes O's over all the blocks. Canon offers this type of format to REALLY delete the content. So if you find yourself in a low-level format situation, those files are lost and you can not use a recovery software to recover your files. Recovering files after you format is more difficult because your chance of recovering those files are based on how the camera or camcorder formats those files.

Hope this helps when you get in a tough situation!

How to clean your Lens

Cleaning Your Lens

Even if your lenses don't look dirty, you are spending hours filming outside and even if you are able to protect your optics from all the environmental sources of filth, there would still be a need to clean your optics.

Cleaning your lens involves about 6 different options:

1. Comped air blower with soft non-scratching rubber tip

2. Soft-touch retracting brush
3. Soft-tip refillable cleaning solution

4. Alcohol-free, all-natural cleaning liquid

5. Microfiber Lens cloth

6. Cleaning soft tissue

7. Cotton-tipped sticks for cleaning crevices and edges

To get the dust off of your lens try using the air blower to remove the dirt and dust from crevices and edges.
Another solution to removing dirt from hard-to-reach places is by using the cotton-tipped sticks.

You can use the Campbell Spudz cloth to remove any fingerprints from your lens in a quick sweeping motion.

Know the filter size of your camera

Filters can be added to video cameras and DSLRs to be used to protect the lens or to correct
the image being recorded. The different types of filters are:

UV Filters: A UV filter is the best available protection for the front element of your lens. A lens that accidentally gets dropped on its front element while hiking into the woods can potentially be saved by purchasing this item. Some people refer to them as "cheap insurance".

Polarizer Filter: If you're out hunting or fishing on a lovely day – and you want to get a fabulous shot of a cloud-filled sky or make the water seem more saturated, then a polarizer is the way to go. This filter is the best way to make the clouds stand out, increase or decrease the saturation of the ocean or increase or decrease the reflection off the water. You can also use this filter when shooting into glass or windows since it will, again, either increase or decrease reflections.

Neutral Density Filter: If you are to film subjects such as snow, sand or other bright scenes which could cause overexposure, to enable slow shutter speeds to be used (filming subjects such as waterfalls, clouds, or cars), to decrease depth of field by allowing wider apertures to be used (separate subjects from the background), or to used outdoors in bright situations, than the Neutral Density Filter is the way to go.

Digital Ultra Clear Filter: This filter is a breakthrough in filter design with its Water White glass, highest high optical quality composition. It's basic value is to serve as a high-quality, permanent lens protector.


To determine which size filter you need for you camera you can look for it on the list below. If your camera is not on the list, you can look up your camera online and look under the specifications of the camera and find it's "Filter Size"

Filter Size	Video Cameras
30mm	Sony CX150/R, CX350V, XR160, CX360V, CX110, PJ10, PJ30V, PJ50V,
37mm	Sony: DCRSX85/S, DCR-SX65/B, DCR-SX45/S, CX700, CX160/B, CX560, CX130/B, CX560V, CX700V, MC50U, A1U, NX70U, HD1000U, MC2000U Canon: HFM300, HFM30, HFM32
43mm	Canon: HFM400, HFM40, HFM41, HV40 Panasonic: AG-HMC40, AG-HMC80PJ, AG-HCK10G
46mm	Panasonic: TM900K, HS900K, SD800K
58mm	Canon: HFS200, HFS20, HFS21, XA10, HFS30, G10, XF100, XF105
62mm	Sony: FX7, Canon: GL2
67mm	Sony: NEXFS100UK(with included lens)
72mm	Sony: AX2000, FX1000, Z7U, Z5U, NX5U, Canon: XHA1, XHA1s, Panasonic: AGHMC150, AG-AC130, AG-AC160
82mm	Canon: XF300, XF305

DSLR Tutorials – Low Light and ISO

DSLR Tutorials – Low Light and ISO

When filming wildlife photography in the early morning or in the late afternoon, you are shooting in low light situations. When you're shooting in low light situations or when you need a faster shutter speed, a boost in ISO is the way to go.

ISO measures the sensitivity of a camera's light sensor.


Higher ISO (ISO 400 or 800) = The light sensor is working harder and needs less light to record an image. This is used to get a faster shutter speed (to avoid camera shake) and to freeze a moving target. Higher ISO can cause "noise," where the image looks grainy. "Noise" may also cause the overall colors to look dull.


Lower ISO (100 or 200) = The light sensor is not working as hard and there needs to be more light. TIP: Unless you are shooting in low light, your subject is moving, and/or a tripod is impossible to use, then go with your camera's lowest ISO number (100 or 200).

Examples:

ISO 100, f/5.6, 1/350 s
(click on image for larger version)

ISO 1600, f/5.6, 1/4000 s
(click on image for larger version)

Comparison of both images.
This is a crop of a small section of
each image displayed at 100%.
The top portion was shot at 100 ISO,
the bottom portion at 1600 ISO.

A good rule-of-thumb to follow with a Digital Camera is to try not to go over ISO 400.

For DSLR cameras you can usually go higher, with some models showing good results even up to 1600. This all depends on your camera. I would suggest to go out in the early morning or late at night and test your camera's ISO by taking multiple pictures at different ISO and then comparing them.

Tips for Filming in the Fog

I had a very foggy drive to work today, and that got me thinking about filming in these foggy conditions. I thought today would be a perfect opportunity to give you guys some tips for filming in these foggy mornings.





Tips for Filming in Fog:


1. Fog can be worse for a camera than rain if you are unaware of the damages that fog can do to your camera. The condensation from fog can easily get up in your camera and cause damage. Probably the most important tip I can recommend for filming in foggy conditions is to use a rain cover to protect your camera from the condensation.

2. Always make sure that your lens is clean. Don't just look through on your LCD screen or through your viewfinder, physically turn your camera around and clean the lens. Why does this happen? The cold lens is subjected to warm, moist air, and the local environment around the lens creates excellent conditions for condensation. As with any dramatic change in temperature, it is always better to accustom your camera slowly to those conditions. A tip would be to have your camera in a zip lock back and keep it in there for 10-15 min. while you are outside, so that the temperature of the lens and camera can adjust to the temperature outside. Any of the condensation formed will be on the outside of the bag instead of on your camera.

3. Exposing for fog is tricky because the moisture reflects a lot of light, fooling the camera into thinking there is more light than is really there. As with any other situation, to produce the appropriate colors in the video, it is key to manually set your white balance. Here is a great blog on understanding white balance and how to manually set it: Introduction to White Balance.

4. While it’s there, fog has a wonderful ability to transform common landscapes and scenes into very romantic and dramatic video or photo. Light is key in creating this "dramatic" look. Here are some photos to get you inspired: (click on images to enlarge them)

5. If you can get to an elevation above the fog, the movement of the fog makes for an excellent time lapse video:


The Unseen Sea from Simon Christen on Vimeo.

Time Lapse Ideas

Here are some Time Lapse Ideas...
Think creatively, see how you can take these ideas and expand on them to make them uniquely yours.

1. Clouds/sky/weather/stars


Timescapes Timelapse: Mountain Light from Tom Lowe on Vim

2. City scene

Mindrelic - Manhattan in motion from Mindrelic on Vimeo.
eo.

3. Reflections

Rochester / Western NY - Timelapse 2009/2010 from Mindrelic on Vimeo.

4. Snow Melting

Time Lapse Snowy Tree Panning from Stock 4K Video on Vimeo.

5. Army Ants

Army Ants Time-lapse from McClain Nelson on Vimeo.

6. Underwater Time Lapse


7. Deer Blind Time Lapse


8. Clock Time Lapse

Time from Sam Taylor on Vimeo.

9. Driving Time Lapse


10. Boat ride time lapse

Under the Bridges (Paris TimeLapse) from Zacharie RABEHI on Vimeo.

11. Spider building his web

Production Element #4- Time Lapse

Production Element #4: Time Lapse


The Mountain from TSO Photography on Vimeo.

Teams in the Campbell Outdoor Challenge must provide a Time Lapse Video for one of their production elements. A time lapse video is simple in concept, and can be done several different ways, but it is important to be creative when choosing the element that you wish to focus your time lapse video on. You can make is simple or more complex, depending upon your own expertise.

How to do a basic Time Lapse:
1. It is key to have an interesting outlook or subject matter for a time lapse. Therefore, it is important to observe your environment in real time. Always make sure to note the quality of light and shadow. Now, imagine the interaction of the wind and clouds. Imagine how the light will move and how the shadows will be cast. Try to predict the subtle movement that can be captured.

2. You are going to want to choose a scene that that is captivating in the present time and that has potential to show a transformation.

examples:

Neary Lagoon Santa Cruz Ca.

By: Ted Tahquechi 

Imagine how a time lapse video would look in this scene. You would be able to see the movement in the clouds in the sky but also in the reflection in the water.

Spider & Web

By: Ken Krueger 

Imagine a video set up in a location where a spider is building his web. Not only would you see the progress of the spider building his trap but also the sunlight and shadows changing in the background. You might also catch a glimpse of an insect getting stuck in the web and the spider capturing its prey.

Spider Time Lapse from vineet suthan on Vimeo.

Stormy Weather

By: James Lineen 

Stormy weather makes a great time lapse time, because the clouds have more volume and more depth to them. Just watch out and don't let your camera get caught in a rain storm without a rain cover or it being waterproof.







3. Stability is Key.  You need a solid support to capture time lapses because stability is a necessity. This means that you need a solid Tripod or Tree Arm. The head is particularly important because you don't want to have the camera slipping during a long series.

4. Now it is time to set your camera settings. You are going to want to set your exposure manually. Remember, you are locking in the exposure to capture each scene. You want to establish the aperture setting that gives you the necessary depth of field. Typically, this means a maximum depth of field for landscapes, and a minimal depth of field for close ups. You will also want a relatively slow shutter speed, otherwise known as dragging the shutter. This will help smooth any micro movements of the camera and environment movements. Remember that you have to imagine the future when selecting your settings, and you must plan your exposure accordingly for the light changing. Neutral Density filters and Polarizer Filters can come in handy during the time lapse process.

5. Next it is important to do a little math. With a goal of a 10- to 30-second scene, you need to establish the time interval between frames. The final video will be rendered at 24 fps, therefore the amount of frames you will need to capture is 240 to 720 frames (24x10 to 24x30). With the classic example of a landscape with dramatic cloud movement, a 2-second interval may be perfect. You'll get all of your frames in 10 minutes. For shots where more passage of light is desired, many hours will be needed. Choose as tight an interval as possible balanced against your memory card or tape space.

6. Be sure that you will have a sufficient batteries/power source and memory for the duration of your time lapse. Remember, you will most likely be filming for a long time and therefore it might be hard to capture the look that you are looking for using a tape-based camera.


How to use a GoPro to film a Time Lapse:
There is two ways to capture a time lapse using the GoPro

1. Set up your GoPro on a sufficient stability source and shoot video and then in editing you can speed up the footage.

2. Use the GoPro's still image capture feature to capture 5MP digital stills. You can record at 2, 5, 10, 30, and 60 second intervals until the battery dies or the SD card fills up. This gives it a little bit of a different look.
Example:

Playing with Time from Kurt Rummel on Vimeo.

How to use a DSLR to film a Time Lapse:
You’ll need an intervalometer; this device allows you to program the number of exposures. Many DSLRs have an intervalometer built in that’s accessed through the menu settings, while others require a separate accessory. Check your camera manual to see the specifics for your DSLR.

I found this blog that turned a graphing calculator into an intervalometer!
Turn a TI Graphing Calculator into a Intervalometer

Different Time Lapse Techniques:
Camera tracking systems: You can use these "camera sliders" to create a panning movement with your time lapse:

El Cielo de Canarias / Canary sky - Tenerife from Daniel López on Vimeo.

However, those systems can cost you into the thousands of dollars. You can try searching online for some DIY blogs on how to make your own.

A good DIY tip is to use a kitchen timer and a GoPro to capture a 360º time lapse.