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Posts Tagged ‘Video’

How to Demystify Shooting Video With Your dSLR

12 Jul

It’s almost impossible these days to get a camera that doesn’t have a video mode yet I’m going to guess that you have either never pushed the record button, or you have and you weren’t happy with the results so never pushed it again. Or maybe you’ve avoided pushing the button simply because you don’t want to deal with editing the video. It becomes one of those things that’s easier to avoid than it is to try and possibly fail at mastering immediately. And while it’s true that the record button is red, you shouldn’t let that stop you shooting video.

shotting video - red button

If you are one of those photographers, let’s demystify some of the ins and outs of shooting video with your DSLR and open up a new string to your bow. The biggest tip? Just to get out there and shoot some video. Not all the footage will be amazing, but the more you do it the more you’re going to learn and the more comfortable you’ll get with it. Dare I say, you may actually have some fun learning something new as well.

Why bother?

But why would you want to add the shooting video to your arsenal in the first place? Let’s be honest, even if you aren’t making money from your photography, if you’re like most of us, you really like getting attention online and engaging with others. Video is a great way to get attention on social media and begin a dialogue. A fake survey that I am about to make up said that people are 800,000% more likely to stop and look a post if it includes a video.

On a serious note though, video can help improve your storytelling and it’s fun to learn new things. Perhaps if you find yourself in a bit of a rut, it could be just the thing to help get your creative juices flowing.

Smiling shooting video

Storytelling and video editing

Video, just like photography, is about telling a story.

The first thing to think about with video is that you will most likely have to edit it, not much, but at least just a bit. It’s important to have at least some idea of what your edit is going to look like before you shoot video. I’ve been working in the film industry for almost 20 years and even I have times where I get back to the editing suite and realize that I’ve forgotten to get a shot that would really help. The more you shoot, the more you’ll realize how many different angles and shots you actually need to tell the story.

Interview shooting video

A good tip is to always get wide and tight shots. Your close-up and medium detail shots are most likely going to be your beauty shots, artsy-fartsy if you like. Then the wide shots will help you establish your scene and let your audience know where your story is taking place, which is absolutely vital. Once you have those shots, just have fun and be creative. Take more shots and angles than you think you’ll need. Trust me, you’ll be glad you did!

Camera settings for shooting video

When it comes to the settings on your camera, you can go really deep but don’t let it stop you from starting! There are some basics to start with:

1. Select a frame rate

If you’re in North America or Japan, select 30 frames per second and if you’re anywhere else select 25 frames per second. There are a few other options and reasons for all of them, but this is a good place to start.

Frame rates are normally found in the “movie settings”, which is at the bottom of the “Shooting Menu” on Nikon.

With Canon, you may have to turn on Live View mode before the movie options will appear in the menu.

2. Aperture, ISO and Shutter Speed

These work exactly the same in video as they do when taking still photos, so that’s easy.

But shutter speed is slightly different. As a general rule, set your shutter speed to double the frame rate. This is so that movement in your video will look natural. If you set your shutter speed low – in video mode, most cameras won’t let you go under 1/20th – then any movement will be blurry. If you set your shutter speed higher than 1/60th or so, then things moving in your video may appear too sharp. Yes, too sharp can be bad in video – try it and see for yourself.

Here is a short video to help you with video settings:

3. Audio

Lastly but probably most importantly, think about your audio. Without realizing it, you’ll find it makes all the difference in your video. The built-in microphones on most cameras are not great, so a good way to get round that is… don’t use it.

So what DO you use? Well, microphones are a bit like cameras, the best one is the one you have with you. So just use music over your whole video to cover anything until you can get a better audio source.

Gear

What about gear, you ask? Don’t you need loads of different equipment than what you use for photography? What about external monitors, tripods, and video lights? Do you need a fancy rig? Sure, you can get a whole lot of new gear but you don’t NEED anything to get started. It’s too easy to let a lack of gear stop you but if you have a camera with a record button, you have everything you need to start.

record button shooting video

shooting video gear shooting video fancy rig

Conclusion

You just need to get out there and shoot – anything. Just press the red button, because this is one situation where red means go. Go shoot some video and have some fun like this!

The post How to Demystify Shooting Video With Your dSLR by Lee Herbet appeared first on Digital Photography School.


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Video: How to make a DIY ‘beauty dish’ for $12

12 Jul

Photographer and YouTuber Joe Edelman is a bit DIY obsessed when it comes to portrait gear—from DIY gobos, to a reflector holder, to a portable background stand, he’s created some pretty interesting things. But this poor man’s DIY ‘beauty dish’ might be his most useful creation yet.

A beauty dish, as Edelman explains in the video, is a light modifier that turns a bare bulb flash into a large direct light source with rapid fall off and no hot spot in the center. It creates a fairly harsh light that is unforgiving, but desirable in portrait lighting situations where you really want to carve out your subject’s features.

If you’re a novice you might occasionally want this create this look, but not so much that you’re willing to spend $ 60, $ 70 or $ 80 on a bona fide beauty dish. What’s a poor (literally) photographer to do?

Left: Edelman’s DIY ‘beauty dish’ made from an umbrella and a piece of foam core. Right: sample photo shot with this modifier.

Edelman’s solution is to use a 30-inch photography umbrella, place it strategically close to your subject for faster fall-off, zoom your speedlight as far in as you can, and cut out a 12-inch circle of black foam core to place in the middle.

All together, this hacked-together modifier can cost as little as $ 12 ($ 11 for a 33-inch umbrella, $ 1 for some foam core at your local WalMart).

Sure, it’s not a ‘real’ beauty dish, and maybe you can hack together a more accurate facsimile in your spare time, but it’s portable, takes about 5 minutes to ‘make’ and the results are remarkably similar to a real beauty dish.

Check out the full video up top and then head over to Edelman’s YouTube channel if you want to see more tutorials like this one.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Those ‘Shot on iPhone’ ads are not what they seem

02 Jul

Anybody who knows about the technique and gear involved in capturing great photos and video knows to look at those ‘shot on *insert smartphone here*’ ads with a bit of skepticism. Yes, they were technically shot on those phones, but many people don’t realize the amount of extra gear and software that goes into the final product.

There is a disclaimer at the end of these videos, of course, but it’s easy to miss or subconsciously ignore it when you’re hoping against hope that your iPhone 7 Plus will be the last camera you’ll ever need.

Have you noticed this disclaimer at the end of the ‘Shot on iPhone’ ads?

In this short video, YouTuber Marques Brownlee sheds a bit of light on the matter, sharing a little behind the scenes look at some of the really intense gear these commercials use, before diving into some more affordable options that can help get your smartphone video—shot on iPhone or otherwise—closer to those professional grade commercials.

Because while you’ll probably never use a rig this advanced:

It’s not unthinkable that you could buy yourself a DJI Osmo Mobile and some Moment lenses to help get your shaky hand-held attempts a little closer to the results you see in Apple and Samsung’s professional ads.

Just don’t beat yourself up if your first few tries don’t live up to this level of quality. We don’t know exactly what gear Apple used on its latest ‘Shot on iPhone’ commercials, but we’re betting it’s closer to the crazy rig you see above, than the pared down little stabilizer and smartphone lenses Brownlee touts in his video.

Articles: Digital Photography Review (dpreview.com)

 
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Video: First look at the Canon EOS 6D Mark II

29 Jun

Quite a lot has changed since Canon first debuted its budget-oriented full frame option, the EOS 6D, back in 2012. Five years later its successor, the 6D Mark II is here, and with a lot to offer including an updated AF system, vari-angle touchscreen and 1080/60p video capture. But is the update worth the wait? Watch our video to find out.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Removing a stuck lens filter… with a band saw

29 Jun

What do you do when your cheap lens filter is so badly stuck on your very expensive Canon 24-70mm F2.8L II USM lens, that even a specially-designed filter wrench won’t get it off? If you are former MythBuster Adam Savage, you take that puppy to your band saw and scare the crap out of the lens owner.

That’s what he did for one of the latest videos on the Tested YouTube channel, when fellow host Norman Chan got yet another filter stuck (the second one in 6 months) on his $ 1,800 lens.

The footage is a bit terrifying for gear lovers, but have no fear: no lenses were hurt in the making of this video. What Savage does is cut two small notches into the rim of the lens filter, one on either side. Then, after expanding those notches with a file, he slots in a solid metal ruler and uses it to torque the filter clean off.

The moment of truth…

Watch the video up top to see the whole cringe-worthy process for yourself, and then send this video to the biggest Canon gear head on your mailing list. Nothing like a mild heart attack to really get you over that Wednesday hump…

Articles: Digital Photography Review (dpreview.com)

 
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Blackmagic Design slashes Video Assist prices

28 Jun

Blackmagic Design has dropped the prices of its Video Assist external monitor/recorders for a limited time. The smaller, 1080-capable model with its 5″ screen has $ 100 knocked off its price, taking it down to $ 395 while the 7″, Video Assist 4K drops $ 300 to a price of $ 595.

We recently took a look at the benefits of using an external monitor/recorder, and have been pretty impressed with our experiences of using the Video Assist 4K thus far.

The company has given no further details of the firmware update which promises the addition of Waveform and Vectorscopes, which was due to be released in June. We’ll be publishing a review once the update is available.

Press Release:

Blackmagic Design Announces Summer Special Price for Video Assist and Video Assist 4K

Fremont, California – June 27, 2017 – Blackmagic Design today announced a new summer special promotion for Blackmagic Video Assist and Blackmagic Video Assist 4K. During this promotion, customers can save US$ 100 on the purchase of a Blackmagic Video Assist, and US $ 300 on the purchase of a Blackmagic Video Assist 4K. That means Blackmagic Video Assist can now be purchased for only US $ 395 and Blackmagic Video Assist 4K can be purchased for US$ 595 from Blackmagic Design resellers worldwide while stocks last.

The Video Assist summer special makes it easier than ever for customers to add professional monitoring and broadcast quality recording to any SDI or HDMI camera. With the new summer special pricing for limited stock, customers will be able to buy a Video Assist for each of their cameras.

The Blackmagic Video Assist family of products gives customers better monitoring and higher quality recording than is available on many cameras. Older cameras often feature custom and hard to use file or tape formats, while lower cost consumer cameras often have poor quality file formats and small screens, limiting their professional use. Blackmagic Video Assist solves this problem because it works with every type of camera from DSLRs to older tape based camcorders, and even the latest digital film cameras. Customers get a large professional on set monitor, along with 10-bit broadcast quality ProRes and DNxHR recording.

In addition to professional monitoring and recording, the Blackmagic Video Assist 4K model will also support powerful built in scopes such as a waveform monitor, RGB parade, vectorscope and histogram in the upcoming Video Assist 2.5 Update, along with extremely high fidelity audio recording and microphone inputs.

“Video Assist is an incredibly versatile tool and has become an indispensable part of everyone’s production kit,” said Grant Petty, Blackmagic Design CEO. “It’s the perfect portable field monitor and recorder, and now customers can get them at an even lower price so they can add them to all of their cameras while stocks last!”

Blackmagic Video Assist 4K Key Features

  • 7 inch LCD touch screen with 1920 x 1200 high resolution monitor.
  • Professional 10-bit 4:2:2 ProRes or DNxHD recording up to Ultra HD 3840 x 2160p30
  • Dual high speed UHS-II SDHC card recorders use readily available, inexpensive SD card media.
  • Dual recorders allow non-stop recording and provide a backup if one fails.
  • 2 mini XLR connectors with 48V phantom power for connecting microphones.
  • -128dBV electrical noise floor for high quality audio recording.
  • LANC connection for remote control.
  • Auto start/stop recording using HDMI or SDI triggers.
  • Includes slots for 2 hot pluggable batteries as well as 12V DC power input.
  • Full compatibility with editing software such as DaVinci Resolve, Final Cut Pro X, Avid and Premier Pro.
  • All in one design, mount to cameras, hold in your hand or set up on a table with the included kickstand.
  • Includes 6G-SDI input allowing it to be used as an Ultra HD monitor.

Blackmagic Video Assist Key Features

  • 5 inch LCD touch screen with1080p high resolution monitor.
  • Professional 10-bit 4:2:2 ProRes and DNxHD recording in HD.
  • Includes slots for 2 hot pluggable batteries as well as 12V DC power input.
  • Full compatibility with editing software such as DaVinci Resolve, Final Cut Pro X, Avid and Premiere Pro.
  • All in one design, mount to cameras, hold in your hand or set up on a table with the included kickstand.
  • Includes 6G-SDI input with downconverter allowing it to be used as an Ultra HD monitor.

Availability and Price

Blackmagic Video Assist is available for US$ 395 and Blackmagic Video Assist 4K is available for US$ 595 during the Summer Special promotion, with limited stock now available from Blackmagic Design resellers worldwide.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Sony a9 falls short with Canon 300mm and 400mm lenses attached

24 Jun
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Sports shooters considering Sony’s speedy a9 have one major hurdle to overcome: glass. There’s a dearth of long, fast primes available to Sony FE shooters, and it seems like using off-brand glass while you wait for Sony to catch up just isn’t a great option.

In this video, photographer Dan Watson of Learning Cameras tried both the Sigma MC-11 and Metabones Mark IV lens adapters to test how well the a9 worked when attached to the Canon EF 300mm F2.8L IS II USM and Canon EF 400mm F2.8L IS II USM.

Watson mainly wanted to test the focusing capabilities, and unfortunately, the results were somewhat disappointing.

Before you dive into the video, it’s worth pointing a few things out. Our own Rishi Sanyal has tested the focus capability of the a9 with adapted lens, and points out a couple of caveats to Watson’s otherwise solid points:

First, the performance of far off-center AF points depends on the lens. While Watson is correct in pointing out that they don’t perform well with long lenses (despite working astonishingly fast with Sony’s own 100-400 F4.5-5.6), they do work well with shorter focal lengths (we’ve had success with a Sigma 85/1.4, Canon 35/1.4, 24-70/2.8, etc.). With these wider lenses, ‘Wide’ area mode will continue tracking subjects to the extremes of the frame.

Second, Sony A-mount lenses adapted with the LA-EA3 adapter do shoot at an impressive 10 fps with autofocus, something we confirmed with the 50/1.4 (as long as you’ve updated the firmware of the adapter).* With the Metabones and Sigma adapters though, as with all Sony FE bodies, only the L drive mode offers continuous focus. And it’s actually only 2.5 fps, not the 5 fps Watson mentions (technically L is 3 fps, but it slows to 2-3 fps with continuous focus).

With that out of the way, Watson’s video is a great resource for seeing how well (or not) the a9 performs when attached to the long, fast Canon primes sports shooters love. And while single-shot focus with central points is speedy and almost 100% accurate with long adapted lenses, the lack of true subject tracking (Lock-on AF modes) or continuous focus at speeds higher than ~2.5 fps (or in video) will probably be a deal breaker for many fast-action photographers.

Once you’ve lost the impressive high speed shooting advantages Sony baked into the a9, you might as well be shooting with any other camera. Moral of the story: stick to Sony glass and hope they keep churning out new lenses at break-neck pace.

You can watch the full demo for yourself up top. And if you’re considering jumping ship from Canon to Sony, keep this information in mind – like all previous Sony bodies, you’ll only have access to the a9’s slowest continuous drive mode when you’re adapting your own glass.


* We’ve not yet confirmed the performance of off-center points with long A-mount glass.

Articles: Digital Photography Review (dpreview.com)

 
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Video: mesmerizing stop motion film of raw wood being shaved away layer-by-layer

22 Jun

Photographer and animator Brett Foxwell teamed up with friend and musician Conor Grebel to create something awesome. Together, they painstakingly milled their way through several pieces of wood, layer by layer, capturing one frame of video at a time to create a stop motion film they’re calling WoodSwimmer.

As you can imagine, the process of actually capturing this film was incredibly time-consuming, and at times grueling.

‘[The final video] involved endless hours of shooting, cutting, and prepping for each frame,’ Brett tells DPReview. ‘Which involved either clearing all the wood chips away or keeping them looking consistent and pretty, and finally applying wood oil to the sample for each frame.’

You can see the mess this process created in some behind the scenes images Brett shared with us. Unfortunately, he only captured a couple of these BTS shots, because, in his words, ‘It was just such a grueling process that I never got around to getting proper documentation of the process.’

Regarding gear, Brett tells us he used a Canon EOS 60D with Tamron 90mm macro lens attached. This setup was tethered to DragonFrame, a stop-motion capture software that Brett says is “a great tethering application even if you’re not shooting specifically stop-motion.”

Tons of work and a nightmare to clean up, but well worth it when you get a load of the final product. Here are a couple of stills Brett sent our way:

Several stills from WoodSwimmer are available as prints from Brett’s website, and you can see more of his stop motion, nature photography, and other artistic work by following him on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Meeting Owl robotic video offers 360-degree views of conferences

22 Jun

Owl Labs, a startup backed by Android co-founder Andy Rubin, has launched a new camera called the Meeting Owl. This 360-degree camera is designed specifically for companies and groups, enabling them to hold video conferences without the burden of manually operating the cameras. The Owl does the hard work itself, automatically focusing the video feed on the person who is talking. Oh, and guess what it looks like? Yep, an adorable, productivity-increasing owl.

The device features a 360-degree camera on the top of its cylindrical body, as well as a total of 8 omnidirectional beam-forming microphones for capturing audio from all directions. The combination of the two enables Owl to capture everyone around a table at the same time, presenting viewers with a full view of the conference room. The camera shifts focus onto whomever is speaking, and presents split-views if multiple people are engaging in a conversation. The microphones isolate important noise from unwanted ambient sounds.

Owl Labs has designed its conferencing camera to work with major video conferencing platforms, including Slack, Skype, Google Hangouts, Zoom, and GoToMeeting; the camera is plug-and-play via a USB cable. According to the company’s website, ‘limited quantities’ of the Meeting Owl are available at this time, with shipping starting within the next four weeks. The camera is priced at $ 799.

Via: The Verge

Articles: Digital Photography Review (dpreview.com)

 
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10 Reasons Why it’s a Good Idea to Start Producing Video Content

22 Jun

If you spend any amount of time online you’ll be well aware of the rapid expansion of access to video content that has happened over recent years. Being largely user driven, this content varies from professionally produced through to home videos of cats, puppies and everything in between.

With the increase in internet speeds and processing power of viewing devices, we have the ability to watch countless hours of video content where and when we like. This provides some interesting opportunities for you as a photographer to consider, either through creating video content, or using video as a platform to show your work in a different way.

Ultimately it allows you to connect with people differently, using elements of storytelling and emotional connection that can only exist through the use of motion and sound. Here are some reasons why I have embraced video as a way of communicating.

Reasons to produce Video 01

1. Video allows you to tell stories in a more immersive way

Anyone who has been to see a film or documentary and become heavily invested in the story and its characters will be able to relate to this. While still images can communicate much of a subject, the depth of which you can tell stories through motion is effective in a different way.

Hearing the person’s voice rather than reading a quote, listening to them describe a situation or speak to another person and feeling the emotion in what they are saying and how they are presenting it. There is the element of moving images that cannot be replicated through stills. It is not to say that motion is a better way, just a different way to tell stories.

It also allows the viewer to have a different experience in seeing environments through motion. Seeing the elements that exist move and interact is again difficult to replicate through stills. Wildlife photos versus wildlife footage is an excellent example of how your understanding of an environment can shift based on the way you are viewing it.

Case study: Karma Coffee

2. Music can introduce a different kind of emotional pull

Music plays a significant role in every piece of film or TV content, from the news to drama to documentary. It has incredibly strong pulling power with our emotions and this is something anyone can take advantage of. The immediate tone that is set with music helps to identify what we can expect to feel, the anticipation of a lion hunting its prey, the feeling of accomplishment for a climber reaching a summit, or a family coming together after a long time apart. The ability to pull your audience further into a story with the emotive power of music is something we should look at seriously if producing video content.

While we may not have the budget for commercial music or large-scale productions, there are a lot of options available through stock music sites that will give you the style of music you are after. By using music that is available for licensing, you are free to have your video projects available for public viewing with no concern of copyright infringement as long as the music is licensed for the correct use.

Case study: Mates in Construction – Kokoda

3. Creating slide shows of your images adds a more dynamic element to your portfolio

This is a great way to bring a collection of images together and show them in a more dynamic way. The collection of images may simply be your portfolio, or it could be from a wedding you have shot, an overseas trip, or a family event. There are many benefits to presenting still images in this way as it allows you to include music and some animation or movement of your images within the frame as opposed to just a static position.

It also means your photographic portfolio can now be viewed on platforms that would otherwise be unavailable for still images, such as YouTube.

Case study: Damian Caniglia Photography Slideshow

4. You can bring together a collection of images and video that are connected

Producing video content doesn’t have to include exclusively just video. Incorporating stills and animation can help tell stories in a more complete way, as well as utilizing content that may already exist.

An example of this may be a short story telling project about a person’s life growing up. Using old photos as part of the visual elements means you are able to give greater context to that person’s life, their story, and what they were like at this time. It also brings a greater level of authenticity to the person’s story as the viewer is able to see a visual representation of what they are talking about.

Another example of this is you may be telling the story of an artist. Using images of their art as they describe their motivation, process, and aims allows to help show their work as they are discussing it. Again, giving better context to who they are as well as a visual representation of their work within the video piece.

5. You can develop character-driven stories and documentaries

Many documentaries have a narrator or voice-over directing the flow and narrative of the story. Character driven stories only allow the voice and vision of the person the story is about, to appear.

While often there is an interviewer involved, the voice of the person asking the questions is removed from the final edit leaving only the people appearing in the video as the ones directing the story.

This has some considerations when asking questions during an interview, and more specifically, the way in which the person being interviewed responds.

Case study: Kokoda 2013

6. Most social media channels favor video content

A quick look across the most popular social media platforms will show how much video content is being favored. In fact, doing a few tests will show you that the current algorithms being used by these platforms favor video content above almost all others.

While YouTube is still the king of video, other platforms such as Facebook and Instagram are definitely showing great reach and interaction with its users and video content. This can be a big advantage for those producing video as you have the potential to reach a bigger audience based on this shift.

Case study: Preserving the Ancient

7. You can offer more options to existing clients including time-lapse videos

It used to be the case that if a client wanted photographic work done, they hired a photographer and if they wanted video content produced, they hired a video producer or production company. But, there has been a shift in recent years with clients having the option of choosing one person who is capable of producing both. This has a number of benefits for the client as well as the supplier.

For the client, they only have to deal with one person or company. This is especially important if the styled approach needs to match across different content (photo still and video, for example. For the producer of content, it means you are able to offer more solutions for your clients, giving them a turnkey solution for production and more reasons to use you instead of anyone else.

Case study: PODS time-lapse

8. You can produce video for stock licensing

There has never been a greater demand for video content. That demand is only set to rise as video content is embraced across all sectors of our society and more online platforms.

Here lies the opportunity for content creators. While there is nothing better than custom footage made specifically for a story, film, or documentary project, there is not always the budget or easy access to what is needed. Stock content is an excellent way for producers to obtain content for their respective projects. This is not a new concept as stock content has been around for a long time.

By looking through the libraries of some of the larger stock libraries, you can quickly determine the style of content that is accepted by stock libraries, and what is the most popular for purchase and download. There are many options for your approach to creating stock video content. However, maximizing your existing connection or access to local areas or industries means you can take a more strategic approach to what you produce based on your knowledge of said industries or areas.

Case study: Sample Footage, Tasmania, Australia

9. You can start doing a regular vlog (video log) to showcase your work

This is almost like a behind the scenes process of telling your story. It is a great way for your audience to get a better idea of who you are as an artist and producer. It will allow your followers to become better invested in your work and your story so they become better connected to you.

By understanding your process in a transparent way, your followers can not only understand the amount of effort and resources that go in to producing your work, they will also develop a better understanding of what it takes to be a successful artist.

10. Producing video is a good skill to have

Even if you are not using video production within your business or work, it is a good skill to develop for the future. As mentioned earlier, there is no doubt we are consuming more video content than ever before.

Organizations that traditionally would not consider producing video content in-house are starting to do so. Developing the skill and understanding for what is needed to produce this content will give you a better understanding of the strategy needed, whether you are producing it personally, or engaging the services of an external producer.

This will often lead to better planning and execution of a project, which results in better quality outcomes.

Conclusion

If producing video content is of interest then get out there and start experimenting with this medium. As most, if not all cameras for photography also shoot video now, it means there is little or no investment in equipment to get started. Be sure to check out some articles on how to get started shooting video and hit the record button and start experimenting.

The post 10 Reasons Why it’s a Good Idea to Start Producing Video Content by Damian Caniglia appeared first on Digital Photography School.


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