New PhotoWorks Kit Gets You Going
With this economy, everyone is trying new ways to make money. Thought about event photography before? It may sound difficult, but trust me, it’s simple! And not only that, it’s a great way to make some quick cash. You just need the right equipment. That’s where I come in. I’m stoked to announce this new photography kit from TubeTape.com. It’s called the Green Screen PhotoWorks Digital Photography Kit. Sounds fancy, right? This kit is small but powerful. It includes a 5′x7′ green screen, FXhome’s PhotoKey Lite software, a tutorial, and over 100 digital backgrounds and overlays to get you started. 
The greenscreen is, of course, the high quality muslin that you would expect of a greenscreen coming from TubeTape. If you’re looking for a larger size than 5′x7′, you can upgrade right on the spot! Every screen has a built in rod pocket that can slide easily onto a backdrop stand you already own, or you can even use a curtain rod if you don’t have a backdrop stand, or you want to save a bit of money.
If you haven’t heard of PhotoKey, then it’s about time! PhotoKey Lite is a chromakey image editing software that keys out the green or blue in your background for you, so you can get straight to compositing. You can drop in backgrounds and an overlay onto your photo to give it your own unique style. It’s a process that literally just takes minutes, it’s so quick! And it’s not complicated like PhotoShop. There are some special fx layers you can play with like contrast, hue, blue, etc. You can do some pretty neat stuff while still keeping the process simple and fast.
If you’re new to chromakey and this kit seems a bit intimidating, have no fear! There is also an included tutorial showing you how to use the PhotoWorks kit to your advantage. It shows you step by step how to set up your screen, gives you tips on lighting, walks you through the software and even shows you how to use different digital backgrounds and overlays to create awesome images.
Speaking of digital backgrounds, this kit comes with a wide variety of backgrounds and overlays for you to work with. There are many classic muslin style backdrops that add a professional touch to any portrait. There are also scenic and abstract backgrounds that look awesome when you blur it a little. It adds a more edgy modern look. There are also some fun backgrounds to play with that are perfect for party invitations, promotional flyers or just having fun with family photos. Add some flare with magazine overlays. People at events LOVE to see themselves on magazine covers. It’s a lot of fun and it’s just something a little different that grabs people’s attention.
Your clients are sure to remember your event photography set up when you use this kit. And the best part is, that this kit starts at only $99! This kit will pay for itself, and more, in just one gig. The amount of stuff you get for the price point is crazy good. You can upgrade the screen size on the spot so you can do everything from corporate headshots to larger group gatherings like weddings, holiday parties, etc. If you’ve wanted to get into the photography business, now’s the time. A greenscreen opens up a huge new world of possibilities and the price has never been better! Oh, and you’re welcome in advance for letting you in on this amazing new product. : )
GreenMan
Word of the Day now on Facebook
My dear friends,
I have once again come to tell you news of huge savings offered now at your favorite online store, TubeTape.com. These folks have truly outdone themselves, if I do say so myself. As you know, they are all about giving you quality products at affordable prices. And with the Weekly Deal 50% off special, they have done just that. Well, to add on to the brilliantness (I had to make up a word, this deal is so good), they are now starting a “Word of the Day” promotion only on Facebook. Every Friday, on TubeTape.com’s Facebook wall, they will announce a “Word of the Day” which will be a promo code you can use at checkout to give you a 15% discount on any item in the whole store! And it lasts all weekend long. Like I said… brilliant, right? So now you can shop til you drop all weekend long and save big money. 
So head over to Facebook (you know you have it open in another tab already) and “Like” TubeTape.com to get the savings started. They already announced their Word of the Day today. See what it is here.
TGIF!
GreenMan
Freelance Wage Calculator
You’re an amazing photographer, highly skilled graphic designer, creative videographer, or experienced editor… so are you getting paid for it? As a freelance artist you need to charge what you’re worth and that includes not just skill, but time, travel expenses, equipment wear and tear, etc. Charging too much means finding work may be difficult. However, if you don’t charge enough, you will be devaluing your place in the industry.
So how do you figure what exactly to charge your clients? I have included a link (found below) that will take you through a simple and quick fill in the blank process that will gage your time, costs, and desired profit, and filter it into a proposed rate that would be appropriate to ask for on a job. So now you have no excuse! Protect and build your business and yourself and start making the money you deserve.
Click here to get started: http://freelanceswitch.com/rates/
For the best tips and tricks, ask your favorite green man.(That’s me!)
GreenMan
Make the sun work for you!
The sun can be a great natural key light, but can also blow out your footage and ruin your day in post production trying to fix the hot spots on your subjects. And let’s face it, you have enough stress putting together your photo or video projects. Don’t add to it! Instead, take some tips from the pros over at TubeTape.com.
If you’ve got a 5 in 1 Reflector, you’re one step ahead of the competition. If you don’t, have no fear my friends. You can use a bedsheet. No really, you can. (Learn something new everyday, right?)The goal is to diffuse the sunlight just enough to get rid of hot spots on your subject’s face but still keep enough light to make the footage usable.
With a 5 in 1 reflector and a C-stand (or two standard light stands), you can create a nice diffused spot for your actor to stand. Using the diffusion side of the reflector, simply clamp it to the light stands and raise it above your actors head until it is directly between the sun and your subject. You will immediately begin to see the difference in your shot. *Quick tip – be sure to properly frame your actor(s) so that they stay completely in the diffused light. If they’re face is diffused but the rest of the body isn’t, it will be very distracting in your final shot, and there’s no real way to correct it in post.
But what happens when you have multiple subjects or need a wider area? This is where the bedsheet comes into play. You will want a white, relatively thin sheet. The easiest way is to get a hold of two backdrop stands and attach the sheet to both ends, creating a sort of tent or canopy over your subjects. Keep in mind that the sun is constantly moving so you may need to angle the sheet by raising or lowering a backdrop stand on one side. The larger the sheet, the more area you will have to work with. *Quick tip – be wary of wind. Keep the sheet as low to your subjects as you can, without it dropping into frame. Using sand bags on the stands and extra clamps on the sheet may help it not to move around or fly away in the wind.
See this in action! Click here to watch a short video showing all the tips I just mentioned above. TubeTape shows you, in detail, how they get the professional look even in harsh afternoon sunlight.
Go get diffused!
GreenMan
P.S. Don’t miss out on any tutorial videos from TubeTape. Subscribe to their channel now!
And no Scrooge for that matter… for I am about to tell you how to save 50% on video and photo supplies and accessories from now through Christmas!
That’s right, TubeTape.com is practically giving away some of their top products at incredible prices just in time for Christmas. And why not? It is, after all, the season of giving. And we all know that you have a wad of cash because Aunt Mildred
had no idea what to get you for Christmas, so now’s the time to get exactly what you want!
Every day through Dec. 25th, look here to save 50% off these items. And some quantities are limited, so the best way to get a first peek at what goes on sale each day, is to sign up for the email list here. And for the love of Rudolf, make sure you check us out on Christmas day, because we are saving the best for last. (Plus, you’ll receive a FREE gift with purchase) Woot! Can’t beat that with a candy cane stick!
So prance on over to TubeTape.com and fill up your sleigh (or cart, whichever) with all the goodies you want. Also, check here for more hot deals that will melt the frost this season.
Well, I am nearly out of cheesy holiday puns, so until next time…
Happy Holidays!
GreenMan
P.S. The new year means new products. Keep an eye open for more bloggage from yours truly giving you the low down on TubeTape’s new arrivals.
Folks, I promised to bring you news of amazing new products offered from TubeTape.com, and so I am jumping-out-of-my-seat thrilled to present to you, the last camera dolly you will ever buy:
This incredible piece of equipment will transform into ANY dolly you could possibly need on set. You can now achieve any dolly shot your mind can create, without the high studio price tag! The revolutionary design offers you a traditional ride along track and doorway dolly, a slider dolly, and even an orbital dolly.
The CamDolly V2 features:
Slider track ends that give you several options for the perfect sliding shot. You will have to find your own pipes to attach, however I would suggest just heading over to Home Depot and picking out any length of aluminum or plastic pipe with a 1 to 1.5 inch diameter. The slider can then be used on the ground, a table top, or even in mid air when safely attached to support stands.
3 different sets of wheels are included with the CamDolly to provide the ultimate dolly motion, no matter what surface you’re working with. Smaller inline skate weels provide smooth motion on a track, or table top. The inflatable pneumatic wheels work great on carpet or other rough surfaces (like outdoor shooting).
The track that is included is awesome! You get two 50ft flexible rubber tracks that are 1.5 inch in diameter. This allows you more possibilities than traditional straight or curved dolly tracks because you can manipulate it to work for you in nearly any location. It can go around tight corners or S-curves, and even go uphill!
An adjustable seat provides a comfortable position when riding the dolly, while still giving you full control over your camera and your shot. The added T-bar assembles quickly and gives complete manipulation over the orbit of the dolly, as well as easy push and pull for the ride-on set up.
When using the orbital function, you can easily dial in the angle by using the included degrees vs. diameter chart. This allows you to maximize the arching function of the CamDolly.
The dolly will support any standard tripod, and will hold a good amount of weight, so if you’ve got a crane attachment, or a jib arm, imagine the possibilities!
The best part is, that the whole dolly breaks down into portable pieces. You can easily fit the entire dolly in two bags. (Nice!) And actually, it’s pretty quick to set up. This dolly is an indie filmmaker’s dream come true.
Each CamDolly V2 is custom built which is awesome, but that also means it takes about 7-10 business days to manufacture, but trust me, it’s worth the wait. So, be sure to watch the video below to see the CamDolly V2 in action. And don’t hesitate to visit TubeTape.com for more information, or call their friendly Customer Service team to place an order. (866) 485-7570
Go get your dolly on!
GreenMan
“Must Know” Terms and Phrases
Let’s face it, no one wants to be “that guy” on set that doesn’t know what he’s doing. Knowing the jargon used by the pros (as silly as it may sound sometimes) is key to not only fitting in on a professional film set, but keeping yourself and those around you safe. I’ve jotted down a list of terms and phrases commonly heard on set, as well as some advice for creating a safe and ideal film environment. Chances are, you have probably heard most of the terms already, but perhaps you aren’t sure of their exact meaning. Have no fear! Don’t try to memorize them all at once. Use this page instead as a reference to come back to and review whenever you feel the need.
DRESS CODE: No Shoes, Ne Service
1) NO open toe shoes! There are many heavy objects on set that fall (and believe me, something falls on EVERY set), so you need to keep your toes protected. Also, bulbs can shatter, dolly tracks will be lying around, so there are many occasions where injuring your feet are quite possible, so sturdy closed toed shoes are a must.
2) No reflective clothing. You don’t want your sound guy bouncing excess light onto your talent from his white shirt. It’s not a rule, more or less, but it is a courtesy to wear dark or muted colors.
3) Proper gloves for handling lighting equipment! Lights get HOT. Very hot. You need proper protection if you will be handling them. Get yourself a pair of gaffer gloves or grip gloves. (All you grips should ideally have gloves as well) Gloves will protect from heat, broken glass, and getting your fingers pinched on C-Stands (ouch!).
PAY ATTENTION ON SET: Hey you! Yeah, you! Look out!
1) Keep your head on a swivel. Look out for loose cables, booms, bounce boards, etc. If there is something to trip on, most likely people will trip on it. Tape down cables to the floor with gaff tape, and keep equipment out of the way of the flow of traffic on set.
2) Put away anything that isn’t being used for the current scene! The less in the way, the better.
3) Keep “grip city” away from set location and out of the way of actors and crew. It will help the crew stay organized and keep talent and spectators out of danger.
COMMUNICATION: Proper use of on-set jargon is essential to a smooth flowing set.
1) “Talent” refers to any of the actors or models on set.
2) “Crew” refers to any production staff on set.
3) “UPM” Unit Production Manager (boss on set)
4) “Grip City” is the area designated for lighting/grip equipment.
5) “Craft Services” are any food or beverage provided for talent and crew.
6) “Green Room” is the area given to the talent (and generally the talent only) to rest between shot set-ups.
7) “Practical Lights” aka “Practicals” are any light fixtures that are normally found in the location you are shooting. i.e. desk lamp in an office
8 ) “Striking” is called before turning a light ON or OFF. When you hear this term, turn away from the light source to prevent hurting your eyes.
9) To “Strike” is to remove from the set and put away. As in, “Strike that table” is a request to remove the table from the shot.
10) “Hot Set” means there is active filming going on, and you should not be walking around or moving any props or costumes on set.
11) “Crossing Camera” is said before ANYONE crosses in front of the camera during a shot set up.
12) “Quiet on set” once this is said, you MUST stop making noise of any kind. No talking (even whispers), no cell phones (even on vibrate), and no walking around. It is best to stay where you are until the scene “Cuts”.
13) “Take” is a scene that has been or is being filmed.
14) “Speed” means camera is rolling.
15) “Print” is a term used by the director to specify which take is the best in a sequence.
16) “Mark” is a blocking term that tells the talent where they need to land in order to be in focus for the camera, usually marked by an “x” on the floor in spike tape.
17) “Spike” as in “spike the camera” means to look directly at the camera, thus breaking the 4th wall.
18) “Cheat” is to turn towards the camera. You may also hear “Cheat away”, which means to turn away from the camera.
19) “Martini Shot” is the very last shot in production for that day.
20) “Hot Points” is said whenever you are carrying anything with sharp end points (like dolly tracks, light stands, tripod, etc.)
21) “Stinger” is quite simply an extension cord.
22) “C-47″ is the fancy term for a clothespin. They are super helpful on set, used for hanging gels, silks, blackwrap, etc. You will hear this all the time on set. Why don’t they just call it a clothespin? The term C-47 came from the original SKU for the product, which is how the studio ordered them. Or so they say… either way, C-47 sounds a lot cooler than saying clothespin.
23) “B-roll” is any footage that is taken besides what is in the script. B-roll is a must have and great for filling in transitions between scenes, or giving you the option of cutaways to add detail, emotion or tension to a scene.
24) “ADR” means Audio Dialogue Replacement and is the process of recording dialogue separately from the action of the scene, that will later sync up with the scene. For example, you would ADR voice over for a film and plug it in during post production.
25) “MOS” stands for Motion Omit Sound and just means silent filming.
These basic practices plus the 25 useful terms should help you provide a more professional and safe environment on your next big shoot. Of course there are many more terms, phrases, and advanced knowledge about film equipment, shot set-up, lighting, etc. But for that, my friends, buy a book. : )
Until next time,
GreenMan
Ps. I take requests! Got a subject you want to know more about? ASK ME! Drop me a comment. Imma listenin’…
Quality Video Footage on a Budget
Everyone wants the best footage for their videos, but at what cost? Unfortunately, producers don’t go around handing out million dollar checks to every sweet script that flies by. In fact, now-a-days, most likely you are your own producer, and the budget you have to work with definitely falls under the “indie film” category. But who says that’s a bad thing? The good news is, technology is now on your side. Digital cameras have progressed so much in the past ten years, that nearly anyone can grab a hold of clear, professional looking HD footage. We no longer need to scramble our life savings together to purchase cans of 35mm film roll and rent a high end camera. With editing software being so advanced, we now have the ability to manipulate nearly any footage to look like film. I know, I know, there are, like, hundreds of film snobs that are “booing” me right now… but sorry guys, it’s true. (Check out my digital vs. film blog for more information). So okay, we’ve established that we no longer need film cameras to produce quality results. Well, now what? There are hundreds of digital cameras out there. Some are $80, and some get up to $15,000… How do you choose?
If you are a low budget filmmaker on the go, and want the quality footage but don’t need the bells and whistles of the studio bad boys (like the RED cameras), you’re in luck because there are many options available to you. Here are a few essential the things you want to look for in a digital video camera: 1) High definition and resolution. You want to watch your videos on your HD tv, right? Of course. So it only makes sense to shoot your videos in HD. 2) Portability and versatility. You need to be able to cart that thing around with no fuss and very little cords. It should be lightweight and compact, but still able to attach to a tripod or other mount. 3) Memory. You should be able to load a lot of footage onto it before needing to download.
The camera I suggest for getting the most bang for your buck, is the Samsung HMX-H105. It has all the above mentioned features and many more that are very convenient and important. It is an HD camera and shoots video 
in a high resolution of 1920×1080. It has a 10x optical zoom plus an optical image stabalizer, so you can get close to the action without your footage getting ridiculously blurry. The display screen is a 2.7″ LCD touch screen, which allows you to command all the record and playback functions straight from the viewer. The camera is compact, weighs just under two lbs, and has a soft leather strap with rubber-like grips so you can carry this thing around all day and still be completely comfortable. It hosts 32 GB of flash memory, USB connection, and comes with a rechargeable battery and built in microphone, flashlight, and speakers. The best part is, it comes with a remote so you can hook this thing up to a crane or jib, and still be in complete control over your shot. This little baby even does still photography at a high resolution, and gives you advanced options for shutter speed, white balance, and time lapse. So it’s really the only camera you need to take with you.
I use Samsung HMX-H105 camcorder as an example because it is such a versatile piece of equipment that produces crystal clear HD video, yet still sells at a very reasonable price that won’t break your budget. You can find it over at TubeTape.com.
I hope this helps break down the digital camera world a little bit. When searching for a digital camcorder, remember the three essentials I listed above. You don’t need to spend thousands of dollars to get quality professional footage. You can get everything you need and more, all while staying within your budget. So now you can put that money towards something important like hiring that famous actor… or corndogs. Whatever you like. I’m not here to judge.
GreenMan
Paint… Just what the professional ordered…
Okay, so you’ve got a video/photo studio… Now what? Well, get your roller ready, because we’re about to chromakey pro style! Why mess with greenscreens and backdrop stands in your permanent studio? They get dirty, wrinkled, or the color may fade over time. Or what if you’re filming an awesome action sequence but your actors keep tripping over the greenscreen under their feet? Yes, you could tape it down… again. OR you could use one or two of the walls in your studio and just paint them a chromakey green or blue. Paint is the perfect solution for maintaining a professional and efficient greenscreen studio.
Today I’m going to be reviewing Rosco chromakey paint. It’s what I use, because it’s what the pros use. One gallon of this stuff covers about 300 square feet. It is true chromakey green in color, has a matte finish, and 
usually dries within one hour from first application. The best part is, that one coat will usually do the job. You may need to touch up here and there, but it goes on smooth and rich, and trust me, you’ll love the results. The great thing about using paint instead of a muslin, is that it is so easy to touch up. You don’t have to worry about snags or rips in a screen. Any dirt can be swept away and any scuff can be repainted, so you’re ready to shoot again in no time. And plus, there’s no breakdown needed after shooting. You just turn the lights off and go home. It’s a great investment and can save you money in the long run. You won’t have to buy backdrop stands, or clamps, or tape, or any other accessories that you would normally need with a muslin backdrop.
All that being said, there are some scenarios where I would NOT recommend using chromakey paint. Do not paint cloth with it. I’m not saying it can’t be done, I’m only saying it shouldn’t be done. Getting the consistency right would be difficult, and not to mention, painting the cloth would be extremely messy. It wouldn’t be worth it. Just buy a screen. I have seen people paint paper backdrops and roll them up to bring on location. Ugh… don’t do that either. Again, the consistency may not be correct on paper, and you run the risk of wrinkles and cracks in the paint and plus, if it gets dirty, it’s pretty much toast. So moral of the story, paint is super good for permanent studios, not so great as a portable chromakey backdrop.
If you have a studio, but maybe it’s small or you don’t want to permanently paint one wall green, don’t worry! You can still use the paint to your advantage. Go out and get yourself some canvas theater flats, and paint those. They are usually covered in a thick muslin cloth with wooden backing that holds paint pretty nicely. However, you might have to use more than one coat in order to get the same richness, as the muslin will soak it up. With theater flats, you can lean them up against a wall (or some are even on rollers), so you can still have your chromakey wall without painting the wall itself. Those are also really convenient because they store very nicely, so you can fit many flats in one small space.
**Quick tip to save some green: TubeTape.com sells their own brand of chromakey paint (which is modeled after Rosco brand chromakey paint, minus the high price tag) It has a lot of the same great qualities as Rosco. So if you’re on a budget, this would be the paint you’d want to go with.**
GreenMan
Let there be light!
If you are using any sort of greenscreen or backdrop in your shot, a 5 point light set up is ideal. You need to have enough light to light up the backdrop completely, as well as your subjects, especially when using a greenscreen. If you don’t have enough light on the backdrop, those nasty shadows or hot spots will cause you much pain and anguish in the editing process, because they will NOT want to key out. And if you don’t light your subject well enough, you will notice them start to disappear into the background once you start keying, because there is not enough definition between the subject and the greenscreen. So that said, how do you accomplish the perfect lighting situation?
There are a few ways you can accomplish it. The most basic way is to keep the key, fill, and backlight in relatively the same position as you would have them in a 3 point lighting set up. With the key being the brightest light, position it at 
about a 45 degree angle from the camera, facing the subject. The fill should be on the opposite side, at a lower intensity, and still at that 45 degree angle from the camera. The backlight can be positioned behind and slightly to one side of the subject, so it frames the subject and is out of the camera’s view. The other two lights you can use to light the backdrop. Place one on either side, but let the beams cross each other so that the light seems to just flood the background.
Now, what do you do with the other two lights when you’re not using a greenscreen or any other backdrop in the background? Do you still need the extra lights? Well, the answer is both yes and no. Use you best judgement. If you have one subject and have them lit perfectly with 3 lights, then don’t mess with it. However, the more people you have in the shot, the more lights you’re going to need. The wider the shot, the more lights you’re going to need. If you want to do any sort of mood lighting, or emphasize certain props or aspects in the shot, the more lights you are going to need. For example, maybe you are in a studio, but need to create sunlight coming through a window. Use one of your lights with a barndoor, and throw a cucoloris on there with a blue gel and voila! Looks like sunlight coming through a window. The point is, the more light you have to play with, the more interesting your shot is going to be.
Moral of the story, if you are working with a greenscreen, you will want to have a 5 point light set up in order to get the most “key-friendly” footage. The last thing you want is to wind up in the editing room and notice that your actor is disappearing into the background, the foreground looks grainy or under-exposed, and you have a giant shadow that just won’t key out. Make it easy on yourself and start off on the right foot at the very beginning with a proper lighting set up. And, as I always say, test footage is your best friend.
Now go get your light on! (all 5 of them)
