1 Person Crew Video Productions – Online Course – The Cinematic Look

Businesses of all sizes need better ways to offer their products and services to the world, and video is clearly the new language of brand communication. Learn how to plan a multi-camera production, increase production value through camera movement, and create cinematic lighting on a budget. Plus, get tips for adding great music and sound effects, saving time and money in post-production, and more!

Online Course

The complete online course is now available on LinkedIn Learning and on Lynda.com

Gear

All the video gear featured on (and used to produce) this course is available here.

Some links might be affiliates. If you purchase gear with them, I might receive a small commission at no additional cost to you. Thanks in advance for your support!

Questions?

Feel free to ask any questions regarding this course (on anything else) on Instagram.

1 Person Crew Video Productions – Online Course – Up and Running

1 Person Crew online course

From planning a shoot to DIY lighting solutions, learn how to produce professional videos with very little gear, tight deadlines, shoestring budgets, and no crew.

Online Course

The complete online course is now available on LinkedIn Learning and on Lynda.com

Gear

All the video gear featured on (and used to produce) this course is available here.

Some links might be affiliates. If you purchase gear with them, I might receive a small commission at no additional cost to you. Thanks in advance for your support!

Questions?

Feel free to ask any questions regarding this course (on anything else) on Instagram.

What the hell is HLG? And, do I need it?

SDR vs. HDR side by side

A quick Google search shows you that HLG (Hybrid Log Gamma) has been around for a while, yet, it’s something I didn’t really understand until very recently.

In today’s post I’ll share the most useful things I’ve learned about HLG, and when/how to use it.

SDR vs. HDR side by side

History

You might remember several HLG-related announcements back in 2017:

“Panasonic releases firmware update 2.0 for the Panasonic Lumix DC-GH5 with added support for HLG recording.”

“Adobe Systems updates Adobe Creative Cloud which includes support for HLG.”

“Apple releases firmware update for Final Cut Pro X which includes support for HLG.”

“Sony supports HLG on 2017 4K TVs with a firmware update.”

After reading about this, and watching some “official videos” my reaction was “meh, whatever.”

What the hell is HLG?

This is exactly why I waited so long to play with HLG.

Glad you asked. HLG stands for Hybrid Log Gamma, which according to Wikipedia is “a backwards-compatible high dynamic range (HDR) standard that was jointly developed by the BBC and NHK.”

One of the most interesting aspects of HLG is that it is essentially HDR, but compatible with existing standard displays, reducing complexity and cost for both equipment manufacturers and content distributors.

Interesting findings from my recent quest to understand the HLG standard

  • HLG is royalty-free
  • HLG is supported by HDMI 2.0b, HEVC, and H.264/MPEG-4 AVC
  • HLG is currently being used by many video services including YouTube

Takeaway: HLG is a free HDR standard that works on normal monitors and is widely supported. Got it.

But, what’s the difference between HDR and HLG?

This gets trickier and unnecessarily dense. So, let’s keep it super simple. There are three main flavors of HDR:

  • Dolby Vision Involves a complex and expensive workflow, not 1PersonCrew friendly.
  • HDR10+ The most available format, but also requires labor-intensive grading.
  • HLG

In a nutshell, HLG aims to solve two big problems. The first problem is that Dolby Vision and HDR10+ aren’t suitable for broadcast signals. The second problem HLG is trying to solve is the need to produce two version (HDR and non-HDR) of the same content. In theory, with HLG one can shoot, edit, and grade, and the final videos will look good both on normal monitors and on fancy monitors. This is huge!

Takeaway: HLG offers similar advantages of shooting HDR, but the key difference is that both normal (SDR) monitors, and super fancy (HDR) monitors can display HLG footage.

Now the real important question: Do I need HLG?

As always, it depends. I like the simple approach Atomos takes on this matter:

“The first step in HDR is to recognize you have a HDR scene. Look for a good range of contrast across the brightest and darkest parts of your image and also across the color and tonal range as each color also contains its own brightness or luminance information. Secondly ensure you are sending a Log signal into the Ninja V so that you are recording the HDR Log information. The main impact of HDR is apparent in the specular highlights and bright areas. The areas that would have previously been ‘blown out’ will now contain visible detail and information to enhance your content. HDR provides more headroom allowing you to show more detail.”

Simple. So, if you are facing a scene with a lot of dynamic range, with deep shadows and bright highlights, then it might make scene to shoot HLG.

I can definitively see the benefit of using HLG on some of the Artisans Stories I’ve been producing, especially when working with available light and very bright locations/exteriors.

How to use it?

Obviously, we need to start with a camera that supports HLG. In my case, I have easy access to a Panasonic GH5. What’s very interesting about the GH5 is that it supports recording, BUT not displaying HLG.

Thankfully, I also have access to an external monitor/recorder that support HLG recording AND displaying.

Setting up the Camera

To set up the camera, we need follow the instruction on this online PDF manual (Page 4).

After several tests, my recommended settings for the GH5 are:

  1. Select “Standard” as the Photo Style (aka Profile)
  2. Under Rec Format select MOV
  3. Under Rec Quality select 4K/8bit/150/60p (I know this doesn’t make sense, but follow along)
  4. Under HDMI Rec Output select 4K/60p Bit Mode
  5. NOW change the Photo Style to Hybrid Log Gamma

Important: For the GH5 to have access to 60p video, the camera must be in NTSC (59.94 frequency) mode. Weird, but that’s the way it is. Also keep in mind that with HLG the lowest ISO available is 400, and we can’t change Contrast, Luminance Level, or Highlight Shadow.

Setting up the Monitor/Recorder

To retain all of the 10Bit data, we need to set the Atomos Ninja V to record in one of the following codec formats:

  • Apple ProRes HQ
  • Apple ProRes 422
  • Apple ProRes LT
  • Avid DNxHR HQX (4k)
  • Avid DNxHD 220x (HD)

According to Atomos “another important item is a high quality HDMI cable that is capable of handling the bandwidth of a 10Bit 4K60p signal. These cables are generally labeled “2.0a” (though not every 2.0a cable is made well enough to work properly).

Here’s more info directly from Atomos regarding the Panasonic GH5.

Takeaway: Even if your camera supports HLG, you might need an external monitor recorder. The setup process is far from quick or intuitive, and LOTS of testing is required before using HLG on a real shoot.

The 1PersonCrew approach is to save the cameras settings we use more often as Custom Menu so we are up and running with a click of a button.

For example, on the Panasonic GH5 I have set the C1 menu for Standard 4k 24p 5600k shooting, the C2 Menu for slow-motion, and now the C3 Menu for HLG.

Not all resolutions and codecs support HLG, so check your camera’s manual.

What’s next?

I’ve been doing lots of different tests, under different lighting conditions and using different settings both on the camera and the Ninja V.

I might write a second post on this once I’m happy with the results and if/when I’m able to come up with a simple and consistent shortcut for the settings.

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The 21 Best Books on Filmmaking.

There’s no question that the best way to learn about filmmaking is to shoot, edit and make a lot of useful mistakes. The second best way is to watch movies, especially with commentaries so we can learn about the challenges other people have and how they solved them. And the third approach is to read great books.

Today’s post is a simple list of the filmmaking books that have inspired me over the years, and that I recommend or gift most often. Here we go!

The Books

Perhaps the two books Ive gifted the most are The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado, which is essentially about “Understanding the rules of cinematography and how to successfully break them. and Rebel without a Crew by Robert Rodriguez.

Christopher Kenworthy has  authored two books I consider outstanding: 100 Ways to Shoot Great Dialogue Scenes and Master Shots: 100 Advanced Camera Techniques to Get An Expensive Look on your Low Budget Movie. Both are truly inspiring.

The more I learn about editing, the more efficient I am as a director of photography. There are three books I’d highly recommend: Great Cuts Every Filmmaker and Movie Lover Must Know by Gael Chandler, The Technique of Film and Video Editing: History, Theory, and Practice by Ken Dancyger, and In the Blink of an Eye: A Perspective on Film Editing by Walter Murch.

If you are interested in directing, Michael Rabiger’s Directing: Film Techniques and Aesthetics, Film Directing Shot by Shot by Steve Katz, and Directing Actors: Creating Memorable Performances for Film & Television by Judith Weston.

For those interested in production, The Big Picture: Filmmaking Lessons from a Life on the Set by Tom Reilly, The Complete Film Production Handbook by Eve Light Honthaner, and Making Movies by Sidney Lumet.

There are lots of technical books that are too hard to digest. A few exceptions are The Color Correction Handbook: Professional Techniques for Video and Cinema by Alexis Van Hurkman Cutting Rhythms: Shaping the Film Edit by Karen Pearlman
and Cinematography: Theory and Practice: Image Making for Cinematographers and Directors by Blain Brown

To understand the power of color as a storytelling tool, there’s no better resource than If It’s Purple, Someone’s Gonna Die by Patti Bellantoni.

And last but not least, really fun books that deliver lots of educational content even though they are not “technical”: Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions by Guillermo del Toro, The Philosophy of the Coen Brothers by Mark T. Conard, Hitchcock by Francois Truffaut, and Something Like An Autobiography by Akira Kurosawa.

The complete list is available here. If you know of an amazing book that I’ve missed please recommend it to me.

Post-Production for Low-Budget Films.

The Online Course

Experience a post-production workflow that is far from traditional, but is extremely efficient and logical. Recommended hardware, software and apps, batch renaming, 4K Proxy workflow, GPS tagging, the correct steps to color correct and grade footage, and even how to safely back-up and archive your projects.

https://www.linkedin.com/learning/video-post-production-for-low-budget-films/welcome

The best book for Photographers getting into Video.

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Pre-Production for Low-Budget Films.

The Online Course

Learn the entire pre-production workflow, from brainstorming to asset allocation all the way to actually pre-shooting your project. This course is geared to filmmakers working with small crews, but it offers essential lessons and resources for all content creators.

https://www.linkedin.com/learning/video-pre-production-for-low-budget-films/welcome

The best book for Photographers getting into Video.

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Filmmaking for Photographers: On Location – Online Course

This is your chance to join an Emmy Award-winning filmmaker on location! Get a unique view, from concept to delivery, and experience how to capture stills, video, and sounds to produce a commercial for a boutique winery in beautiful Oregon.

The Online Course

https://www.linkedin.com/learning/video-for-photographers-1-filmmaking-essentials/welcome

The Book

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Cinematic Composition for Video Productions – Online Course

Composition is one of the least understood yet most important aspects of cinema. Using a wide variety of examples, Emmy Award-winning Director of Photography Eduardo Angel breaks down effective cinematic composition, shares his favorite compositional effects and techniques and even covers how and when to successfully break well established rules.

https://www.linkedin.com/learning/cinematic-composition-for-video-productions/welcome

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