Video & Photography








Here I like to demonstrate the slow motion effect with the Fountain of Red Cliffe in Queensland Australia.

I got several inquiries how to put up a Blog like these, you can click on the side bar on Namecheap , or you visit on my side bar.




Peaches Cheese Cake


 Here is an another Idea for to have with a Cup of Coffee, I try to keep You entertained until I get my Picture Frame Video out, is not done yet of  course. Even I did not start yet, I am doing to many things I enjoy and that means it will go slow.

How do you can make a presentation like that, creating a short film or documentary was a task of technical expertise and one should be quite a professional to deal with editing and related tasks. Set up your tripod with the Camera on a point where you like to start, focus and record, if there is a next step, you re positioning your Video Camera and record, and so on, record more time you really need. A huge number of video editing software available in industry, both paid and free, after you have all your footage collected, edit them in Final Cut pro X, AVS Video Editor, Sony Vegas Pro, iMovie and many others more.

All you need for multimedia processing: edit, capture, and convert video and audio in all media formats, record footage from PC screens, overlay new audio tracks, apply filters and special effects. Record and add voiceovers to screencasts, capture video chats and online video. Create stunning slideshows. Capture TV, webcam, VHS, and AVCHD camcorder output. Burn Blu-ray, DVD, and CD. Play back video and audio.

Export your creation to one of these Editors and start to put all your files in a sequence that will tell the Story and entertaining the Viewers.


Both beginners and professionals can find the perfect solution for creating, designing, archiving and presenting their own videos, music, photos, graphics and websites.

MAGIX Movie Edit Pro 2016These are only an example from many more you can choose from on the Internet , payed and free ones , I have a MAC Desktop Computer OSX and use Final Cut Express Pro X  for the editing Work, believe me, recording Video is fun, and sitting in front of your Computer to edit is like the cream on the Cake.

That is actually what I do, having a cup of Coffee with a my own baked Cake, and go through all the files and sort them out for the right sequence.


The Home made Banana Cake

 I just made a Banana Cake, how I did it will be in the Video I made, homemade is much better than from the Factory, I believe that.

When you are outside in bright daylight, that does not mean you do not need a Light, yes you do to lighten up Objects in Shade, here I had to lighten my Face with a LED Light, there are other things you can use like a Reflector, or a white Card Bord, the Silver Wind shield from your Car, even changing a bit the position of your Object  $_57 could bring light to your Object. I could not change my position because I wanted the Background in my Movie.

The preparing for the cake has been recorded without sound, I add the sound later with Voice over, made the script what to say, recorded it, and added the voice on the right spot in the time line to the Movie, in Final Cut Pro X .


Everything what is important to Photography applies to Video as well, the only different is , You record with 24 / 25 /50 / sec. per sec. that creates the impression of a moving Picture, the Video or Film in the Cinema. I like Video because it is moving, I like Photos because it is stationary and not moving, that enables me to look for an impression long time and get get me engaged in what the Picture is telling me.

 Before I started to record Video I got to know first the Important steps, charging the Battery ,white balance, to capture the real colors, record format like: 1080/50i, or 1080/25P , getting the right    SDHC  Memory Card, I started with 16 GB, that gave me 30 minutes HD recording.

For to get the right Light I opened all Blinds in the Windows, and even I set up a LED Light on a dark spot, to get a sprayed out diffused Light, I pointed the Light up to the Ceiling and eliminated any shadow. Here too, I added my voice separate after recording with ”  Audacity  ” , a free Voice Over Soft Ware , and add it to my Movie. that gives a clean Sound without any unwanted noise.

I started with to make the Black Forrest Cake, with the intention too give you the opportunity to do the same, and to get me to get used to the Video Camera, making mistakes and learn from it.

Using a Tripod for panning (moving the Camera steady and slowly from left to right,  or right to left. ) and tilting  (moving the Camera slowly up or down

When the Time is there for Strawberries, it is good to try anything with it, Cheese Cake with Strawberries, drinks with Strawberries, deserts, Ice Cream and many others, like my Tortenboden ( Biscuit). I keep occupied somehow with recording, and that leads to a lot things I like to do. Among them is to bake my German Cakes, these one is very easy and fast, very tasteful fresh out from the fridge.

Music from


I really love to Video and watch it later on a big TV Screen, that’s why I preferable bought a pro Video Camera to record in HD Format, the heaviness from the Video Camera guaranteed to get steady recordings, even without Tripod, not get shaky Footage.


How to record handheld and not to get shaky Video, like with the Photography, place your feed slid apart, bend your knees a bit down, hold the Camera up in your hands, press your elbows against your chest, doing like that, you are like a firm Tripod.


Neutral-density filter,a neutral-density filter, or ND filter, is a filter that reduces or modifies the intensity of all wave lengths, or colors, of light equally, giving no changes in hue of color rendition.Is Like you put a Sun glass in front of your Camera.

Picture quality is true to the Video maker’s vision, so for me, always I see my world like through a View Finder, look for the perfect Frame for my Video, the most important consideration when deciding how your scene will look is the existing lighting on your video shoots, a scene without enough light or with harsh, distracting shadows or highlights is not effective in communicating your message. It’s important to learn early on the best practices for lighting for video, bring enough fill light, set up your camera properly, white balance, diffuse setting ( ND – Filter )if your Camera has them build in, Focus Switch ( auto or manual )

White Balancing for DSLR and Camcorders


There are many factors that contribute to getting a good looking shot. Setting your white balance correctly saves time and frustration when it comes time to edit and opens up artistic options in the field. I am talking about the basics of color temperature, when to use auto white balance, setting your white balance manually by dialing it in or using a whitereference object and how to ensure good results in tough situations.

kelvin-chartEvery source of Light has a Color temperature, the color temperature is measured in degrees kelvin and can range from 1700 K lit match, up to 10000 K skylight, the lower temperature produce an orange, and the upper temperature produce a blue color.

professional Lights are designed at special temperature, 3200 k  produce an orange light, 5500 K produce a day light, some LED Lights have adjustable color temperatures that covers the whole range. Your Camera must work in a the right temperature to get the natural colors, setting the white balance properly is necessary to get your footage, Video looks natural.

When do you need to set the white balance, all the time the light changed, inside or outside, changing weather, changing the light source, moving location. All DSLR’s or Camcorders have automatic white balance, but it is always better to set it manual by yourself with a white board, avoid highly reflective materials, must be poor white, hold the white board or fabric in front of the Lens, zoom in and set the white balance.

ND Filter reduce overexposure with no negative side effects or allows you to shoot with lower aperture options, they can also prevent prevent you to shoot with faster shutter speed to reduce the expose. These Filters can be build in in a Camcorder like main, or can be screwed on to the Front of the Lens, or placed in a Matt Box.

There are various methods of measurement, .3, ND2,1/2= 1 full stop of reduction, will always reduce light by one stop  ( f -stop ) Build in Filters have always three options off, 1/4, 1/16, 1/64 the filter diameter is always printed on the Lens in mm. the ND Filter helps you to gain true control over the exposure with no side effects.

If you’ve been shooting video for a while, you’re probably familiar with the magic hour. You know, the first and last hour of sunlight that provides magnificent lighting for your scene. Of course, you may also be aware that shooting outside at noon on a sunny day is pretty much the worst case lighting scenario.

With a few tricks , you can help the sun work for you rather than against you and achieve good results, using Reflectors and White Boards. Bad lighting is bad for  Videographers everywhere. Whether it’s too much light washing out your colors or not enough shadows hiding your actors, poor lighting demands your attention. And here comes three point lighting as a necessary help to get it right.

In these Video I put a light in the back,to separate me from the back ground, in the Front I have the light on the Camera, that’s why my Face is equal lit, without to create to many folds in my Face, here it hasn’t been really necessary to put more lights because it has been on a bright Day. 

If you see my Videos they all are made with a Tripod, a strong Tripod I put the Video Camera or DSL Camera on, that is a necessary step to do if you not want to get sick in your tummy. That happen to me when I see some People recording Video, get one , get a good one, spend some Money to get a stable one without week and bending Legs, and with a Ball Head for a soft turning.Tripod_edited-1

For two Hundred Dollar you get a satisfying Tripod, not a 15 Dollar one, safe yourself from to be very disappointed. Recording with the Panasonic Video Camera can be activated with a remote included when I boughr the Camera. But the Nikon DSLR Camera has an interval timer for automatic shooting, but not for Video, If I record with the DSLR Camera, I have to trigger it by hand, that means the first couple of seconds I have to  delete.

Simply Steps for best Video Lighting

You packet everything in Your Video Bag and go to a location for Video Recording, but you get a shock when you discover you left the Video Light behind, that is really not good, now you have to use what you can find to get Light to your Video.

Camera Controls

understand how the Video Camera captures the Light, the first function is the Gain, the Gain allows you to get more light in the image sensor, however the higher the Gain , the more noisier and grainier the image get, like the ISO in Photography.The second way is to lower the f number, the third way is not to use the ND Filter.

Check the Natural Light

Indoor open the Widow Blinds, switch on all existing Lights, you want to get as much possible Light to your scene, change your positions. The same happen outside in sunlight the Sun produced harsh light and with deep shadows, it is better to move that Person under a shade to produce more natural Light.

But the image get flat without to produce light with a reflector, you have not to buy one, use the Car Widow Shade= with the silver side and direct gentle the light to then Face of the Person. You catch the light and you create a Studio Light situation outside, inside or outside, moving that Light closer to the scene, you get more light.

Preparation and Solution

You should always to be ready to fix a problem, no matter what it is to get on with your Video shoot, Indoors or Outdoors, problem is back light, move your Person toward the light that is like a key light, move the light closer to the Person, or change the light Ball to a stronger one, these creates more powerful light.

Outside you have to much light, change the location, use the ND Filter, have the sunlight in your back. If you master the light in  your Video, you create a professional looking Video, understand how to create more, or less light.



These Weekend sadly we had to be on the Funeral of my Sister in Law, to young with 49 Years to go, I did not like it but I had to video it for the relatives in the Philippines, the Light hasn’t been great, but it was accepted, I got around with moving the Camera, tilting, until I found the perfect spot, and not  zooming in to close. All the time the Camera was stationary, it went better than I thought.

If you experience a situation like that, move the Camera around, tilting and panning and find the right spot, I had Video light too but that hasn’t been a real help, the sound has been great, and the Video has been good too.

Be a Tripod, how I explained on the first site, I went out to the bush behind our House and recorded with the Nikon D7000 the feeding Birds, to show you how it can be. It may not be 100% and perfect, but it is acceptable and possible, and should be done in an emergency only, it is hard work to be stand stable and frozen, but is rewarding when you see you saved the shoot. Now you can be confident when you forget the Tripod or it failed to function, you still can manage the recording.

When you watch the video you see problems with the focus, the Nikon D7000 try’s hard, the sound is recorded with an external Microphone because you hear constantly the motor working, that’s why I not record Video with the  Nikon D7000, it is perfect for Photography, for Video I use The Panasonic AG-HMC 152 EU only, there I have no problems with focus and sound.

Most photographers prefer shooting RAW footage due to the high quality of images that the camera sensor could possibly produce. Video as well, that’s why I shoot Video in Raw, despite your files use more storage space than processed and compressed videos and images, so a camera storing RAW images quickly uses up its storage space. The pristine data in raw footage makes it more flexible for post-production work because there is so much to work with, I am using FINAL CUT PRO X and that is an Editing Software fantastic and fun to work with.

There is free software out there ,but can not competitive with a professional Editing Software, try it out.

Working without Tripod

and getting smooth  moves and steady shots, hold the Camera close to your Body, bend your legs a little bit and walk, the legs act as a shock absorb er and create a steady shot.

Panning is when you move the Camera from left to right, or from right to left, make sure your Arm is close to your Body, tack in Your Elbow by using the other Hand to hold the elbow that support the Camera. And again, bend your Legs a bit, now you can walk and shoot the theme time.


You don’t need always a Tripod, use the Sensor inside Your Camera click on Menu and search for it to set.

Camera Support

use the environment when you see a Park Bench, or a Fence, Park Table anything you can lean on it.

Camera Moves

one of it is the Pan and maybe over used, you have to plan where You want to start and where you want to stop. The tilt, moving the Camera up and down, if there is an Object to large to fit in your Frame, or add an Element to your Project, the best way to execute a tilt use a tripod, if you not have a Tripod, make sure to hold the Camera as close to your Body as possible.That creates a move smooth as possible.


one of the most over used Camera moves is the zoom, taking the focus length from wide and moving to tele, these  shots are better taken with a Tripod, because the recording gets very unstable and shaky, you don’t need necessary a Tripod to create a professional looking Video, what you do to understand and control is the motion of the camera, need to understand to create the center of the gravity of your Body, and make sure you don’t over use the Zoom. Sometimes the Camera on a Tripod makes more sense.


Night -Time Shooting

shooting in the Night has some challenges, getting Light on your Subject, and getting some Light on the Background to put your subject on a Place. First you have to control where you are in the shooting, are there Street Lamps, Lights from Shopping Windows, Cars who driving by, look around where you get the Light from, even the Moon is a great Light source.Get your subject close to a Light source, and of course you can bring your own Light source, a On Camera Light, a Flash Light, that becomes than your key  Light, than you have the fill Light, you can use the Reflector to soften  the harsh shadows and contrast. Another way is to use the Gain, that will introduce some noise in your recording , but the Camera is more be sensitive to Light.


Day for Night Shooting


 In a Movie you see a Night scene, but that don’t means it is done in the Night, you can shoot Night scenes on a Day, how is it done , underexpose a little, maybe two f- stops or more , than it looks a bit darker, and set the white Balance, trick the Camera by holding the Camera against a  darker of white surface, than you get the bluish look that simulate the bluish Light from the Moon. I go further and add the build in, or screw on ND-Filter, but you have to avoid the sky, and sun shine through the trees, if you are in the Forrest. You have to avoid any Light  that could spoil your Day for Night Shooting. Have a background without without Sun spots and Sky, like Trees, a Bush or in a Shadow, from a Building.



Basic of three point Lighting



DSC_5012Poorly lit scenes can leave your project looking flat and lifeless.  But if you can get the lighting right, it will help establish a tone, and bring the depth and texture to your footage.

In this segment, I talk about the basics of 3 and 4 point lighting including key lights, fill lights, back lights, and set lights.  Plus I tell you what you need to know about hard light and soft light, and high key and low key lighting styles.
Knowing the fundamentals of basic lighting setups can help breathe life into bland scenes, and help your footage sell your story better.


Before I start setting up lights, it’s important to understand the difference between hard and soft light.
_DSC4996This is an example of a hard light source.  A hard light typically comes from a bare bulb or focused spotlight. The sharp, dark shadows it creates can give your scene an intense, gritty tone.  It will also highlight imperfections and textures.

This is an example of a soft light source.  A soft light is typically diffused with material that scatters the light.  The smoother, more transparent shadows that wrap around the subject can give your scene a more serene positive tone, and will help hide imperfections and smooth out textures.
Now let’s talk about the 3 point lighting.  As you’d expect, this involves 3 different lights. The key, the fill, and the back light. The first light you want to set up is called the key light.
The key light will be the brightest light in your scene, and is the light that is casting your primary shadows. The key light position helps define what the primary motivated light source is in your scene, and can be a hard light or a soft light.
Using a typical interview setup as an example, the key light is placed about 45 degrees off axis from the camera and set to a height that gives it a 45 degree angle to the subject.  This position is ideal because it’s high enough to prevent heavy shadows on your subject’s cheek, as well as your background

KEY Light

_DSC4996 _DSC4993

Both of these shots had key lights placed at the 45 degree positions, the only difference is that one is a hard light, and the other is a soft light.  Notice that because the hard light is more directional, less light falls on the background.
For our setup, I wanted the soft look with minimal spill on the background. Usually this light is positioned off to one side of your subject. It will illuminate a majority of your subject with the exception of some harsh, shadowy lines. If those lines fit the mood of your scene, you can move on to your back light. If not, get another lamp ready.
Now that I have got the key light properly placed, let’s add our fill light.


FILL  Light

The fill light is used to control the shadows created by your key light, and is typically a soft light, or a hard light being bounced off of a piece of foam core board. The fill light by definition is always less intense than your key light.

A fill light is typically placed close to the camera near the eye level of your subject on the opposite side of the key light. This position helps prevent the fill light from casting unwanted shadows.
_DSC4993If this placement casts your subject’s shadow on the background, you have a few options. You can diffuse the light more, move the light closer to your subject, or move the lights and subject further away from the background.



Here’s the shot with the key light turned off. This gives you a clear picture of what your fill light is doing.
_DSC4990Even with high key lighting, you want to make sure to leave some shadows from your key light to keep some sense of depth.
When there’s a big difference in intensity between your key light and fill light, it’s called low key lighting. In ratio terms this  might be 9 to 1, meaning that the key light is 9 times as intense as the fill light.In this example, notice how most of the  shadows created by the key light are left intact, resulting in a more intense, moody feel.

Here’s the shot with the key light turned off. This gives you a clear picture of how much light our fill is casting for low key lighting.
The third light in the 3 point lighting setup is called the back light.
The back light separates your subject from the background, and helps to define  the 3rd dimension with shape and depth. A back light is generally a hard light, which allows you to focus it and highlight contours of your subject by creating a thin light outline.
A standard back light is placed directly behind your subject at a 45 degree angle.




Here’s our shot with the key, fill and back light turned on. Notice how I have highlights at the edge of the shoulders and head. This helps separate our subject from the background.

BACK Light





Here’s the shot with only the back light turned on. Notice how you’re not getting any light spill along the front of our subject. An often over-looked component of a good lighting setup, the backlight is essential for filling in your shot with background imagery. You can use it to pick out actors or objects behind your subject to create more depth in your shot, or you can use it to cast a silhouette against your lens. The backlight can typically go anywhere in the background, so play around with this one as much as the others, if not more.

Placing the back light at a lower angle can cause the light to show in the shot, or cause lens flares. Now if you think the flare works for your project, you can intentionally create this look.

Placing your back light at a higher angle can cast new downward shadows on your subject, and should be avoided.

Your camcorder has many manual settings – –focus, white balance, aperture that can make better images, but why would you want to set your shutter speed?
If you’re like most people, you probably haven’t thought much at all about shutter speeds on your camcorder, in fact, you don’t lose any points if you hadn’t even considered that your camcorder has different shutter speeds. Most modern camcorders do an excellent job of setting an exposure so it doesn’t typically come up.

Why Mess with That?

So why then would you even want to set a shutter speed? For a few reasons, but the big one is control. Very often we’ll rely on our cameras internal electronics to choose a shutter speed and aperture – It usually does a pretty good job but can be confused by situations that are very dark or very light – such as something back lit by the sun or the inside of a dark room that you want to keep dark in your footage. For this reason you’ll sometimes want to tell the camera what settings to use rather than let it choose. Another reason is because you want to shoot at a particular aperture to achieve a certain depth of field. Take a look at some reasons you’d want to set your shutter speed manually, but first a little bit of background.

How Your Camera Sets Exposure


Nikon D 7000 Focal Length : 112 mm Aperture : f 5.3 shutter Speed 1/250 sec. , sharp image result of a high shutter speed.


Nikon D 7000 Focal Length : 112 mm Aperture f 18 shutter Speed 1/13 , blurred image result of a low shutter speed.

Your camera is a bit like an hourglass. A certain amount of light needs to hit your cameras sensor in order to make a properly exposed image. This can happen in a number of ways, a lot of light can come in quickly, or a small amount of light can come in slowly. The two ways that you control this are your aperture and your shutter speed (There is a third variable, which is your “gain” which is essentially telling the camera to multiply the amount of light it’s recorded and pretend there’s more. The aperture is a circular iris that can be opened or closed to let more or less light in. (Video cameras have a “virtual aperture” but the concept is the same). The shutter speed is the length of time light is collected on the sensor

Let’s go back to the days when motion picture cameras were just being invented. The way Thomas Edison’s fascinating device works is that a ribbon of light-sensitive film is moved behind a lens which focuses an image on it. In order to keep this from being just a continual blur, there is a little door between the lens and the film. This door called the “shutter” is open only for a brief fraction of a second, an image is frozen on the film, the shutter closes, and the film moves while no light is hitting it, then it opens again for a brief fraction of a second, freezing another slightly different image. These are viewed back the same way – an image is projected on a screen, a shutter closes, the screen goes black, the film moves, the shutter opens and the second image appears. It’s like a slide show at 24 frames a second. An phenomenon of our brains known as “persistence of vision” makes us believe we are seeing one image that is moving instead of several still images in rapid succession. The rate at which motion pictures play back has largely remained constant since Thomas Edison invented his first camera in 1891. It was a bit variable at first because it depended on a person turning a crank at a constant speed, tending to be about 16 frames per second, but later it became set in stone. One of the biggest reasons frame rates haven’t changed is the NTSC standard used for broadcast television. This dictates a frame rate of 29.97 frames per second. Which in the days of film meant you couldn’t have a shutter speed longer than that and many camcorders have a minimum shutter speed of 1/60th or 1/24th of a second. However, since there is no physical transport – no film that needs to move from one place to another this limitation has become somewhat theoretical – a number of new camcorders have special modes which will allow slower shutter speeds which are then converted to 29.97 fps by repeating the same image over multiple frames of video. Using frame rates lower than 1/30th of a second can create significant blur in moving objects which can, if used appropriately, be a very interesting effect.

Changing your Shutter Speed to Affect DoF

Until relatively recently, shooting at a wide f-stop didn’t necessarily translate into the super shallow depth of field (DoF) we’re used to seeing in Hollywood movies. This is because of the relatively small sensor size of consumer video cameras. In the past few years more and more people are shooting HD on digital SLR cameras that provide access to a wide range of 35mm film lenses with their huge f-stops. This gives a very tangible reason to want to shoot wide open in daylight. Set your lens to the widest aperture possible, then adjust your shutter speed until the image is properly exposed. If you’re shooting in brightly lit conditions, you may need to add some neutral density filters to the front of your lens.


A very GOOD VIDEO needs a very GOOD AUDIO.

Here’s an unpleasant, yet almost universal, truth: Your camera’s internal mic is awful. Let’s explore the issues that render a camera’s mic incapable of producing professional results.
The first problem comes from the camera usually being too far away from the source of the sound. Remember, sound travels relatively slowly and reflects off all the hard surfaces at your shooting location. DSC_5035-2These reflections reach the camera’s mic at slightly different times and cause an unpleasant cavernous effect. Moving the mic as close as possible to the source of the desired sound will minimize the effect of the reflections. An external mic is usually the best solution.
The second problem involves the camera mic’s penchant to capture noise. The mic is prone to pick up handling noise from the filmmaker as fingers move to adjust camera controls. In addition, since the mic is physically attached to the camera, the internal mic can pick up sounds from zoom and auto focus motors inside the camera. Not good.
A third challenge is noise from the filmmaker — like grunts and breathing sounds — these are readily captured by the nearby camera mic. An external mic solves each of these problems.
Here, I will provide information you need to select the perfect external mic for any shoot in your future. I will explore three different recording situations: studio, field and camera mounted.

Polar Patterns

What is that,

let’s take a moment to review polar patterns. No matter what you are recording, there is usually some sound you want to avoid capturing. The polar pattern of a mic denotes its ability to accept, or reject sounds, coming from different directions.
“Unidirectional,” mics capture sound from only one direction. These mics — commonly called “cardioid” — have a pickup pattern that loosely resembles the shape of a heart. “Supercardioid” mics do even better at rejecting sounds from the sides of the microphone. These extremely directional mics shine at capturing sound that is a significant distance away.
Other microphones have an “omnidirectional” polar pattern.

. This means they pick up sound from essentially all directions. “Bidirectional” mics pick up sound from two directions. This polar pattern also goes by the name of “figure-eight.

The RØDE NTG-1 on my Video Camera is a lightweight condenser shotgun microphone, specifically designed for professional applications within the film, video, television, voice-over and ENG industries
The NTG-1 provides an electronically balanced output stage and operates on 48V to the P48 standard. The NTG-1 offers wide bandwidth and a controlled polar response coupled with low noise SMT electronics. The NTG-1 is extremely lightweight making it ideal for mounting directly to video cameras ( with optional accessories) or a Boom pole. The Polar Pattern is mainly in the Front, less behind and minimal from the Side.DSC_5080 In addition I have a second Shotgun Mic for Stereo Sound or for Sound sources further away to move the second shoot gun closer. DSC_5040






DSC_5079Some times I am recording, like my Baking, or working in my Garden Shed, or others, than I am Voice over the Video with the Rode Podcaster USB Microphone.


Omnidirectional, takes the sound  360 degrees .

Seamless integration was the idea, and it was obtained by creating a studio dynamic microphone with unparalleled A/D converters, so that the microphone can be plugged into any computer with no in/out boxes, no expensive computer pre-amps, just a USB cable.The microphone comes complete with a 3M USB cable. Optional extras include a shock mounting system and soon to be released Angle poise style table mount arm.

The mic opens up possibilities for anyone who records audio—from podcasters, journalists and students and Video makers to business people adding audio files to websites and multimedia presentations.


Shure SM58 (about $100) This mic is a living legend. First offered in 1966, today it is one of the most common vocal mics in existence. The Shure SM58 handheld cardioid mic has a reputation of being virtually indestructible.
This dynamic vocal mic shines in either a studio or on an outdoor stage. An internal shock mount system effectively reduces handling noise. The SM58’s built-in filter reduces wind and breath “pop” noise. The cardioid pickup pattern minimizes unwanted background sounds — particularly useful for avoiding feedback at a live performance that uses monitor speakers .
The Polar Pattern is like a Heart and avoiding sound s from behind.200px-Polar_pattern_cardioid.svg

These Microphone I use on my DSLR, to avoid sounds from the Focusing Motor, it is separated from the Camera and hangs on Rubber rings as chock absorbent.

And at last I am using the   Tascam DR-40 4-Track Handheld Digital Audio Recorder To record sounds to add later for editing to my Videos. The unit can record high-quality WAV/BWF or MP3 files to readily-available SD or SDHC flash memory cards, allowing me to record hours of material and share it easily. The recorder features built-in adjustable condenser microphones, allowing you to choose an X/Y or A/B recording pattern to meet the needs of your environment and application. There are a pair of Neutrik combo inputs that accept XLR and 1/4″ connections for terrific flexibility.Tascam_DR_40_DR_40_4_Track_Handheld_Digital_1316095620000_821259600px-CardioidCircleEnvelope.svg

THe Tascam D40 takes the Sound with two inbuilt Microphones in a Cardioid Pattern, with the two XLR and 1/4 Connections I am terrific flexible. Here I have with all my Microphones the possibility for to create great Sound for my Videos , it is very important to add Great quality of sound to your Video creations , Eyes and Ears combined , give your and my Viewers the pleasure to View our Videos.

5000 Camera Staedycam System with Comfort Arm and Vest.

It helps a lot by to distributing the weight of the Camera, helps where you not can use a Tripod, or like walking through the bush, helps to get a shoot like floating through the Air.

9ft Video Camera Crane Jib with Junior Pan Tilt Head Jib Stand 12V Power pack , that is what I have wanted long time ago, what can I do with it, recording from above to get a view over an area your eyes can not see. Like the gathering in a church for a wedding, getting closer to a Koala sitting in a Tree, recording low to the Ground ,slowly coming up high in the Air like in the Movies. With it I have a remote controlled Motor that will move the Video Camera in all direction I want.

Next, the  Fly-cam , it will make share my recordings on a go will be smooth and steady  without shaking that could make you sick watching.

Now I made my first not so perfect picture Frame, and I experiment a couple of times with the Camera Crane, and I am very pleased with the possibilities I have now to make exiting Video. In these Video you only see  the Jib.

My Panasonic AG-HMC152EN Video Camera has three build in ND- Filter, ( filter to change light intensity) , for the Nikon D 7000, I bought a set of density filter

TIFFEN-72MM-Filter-Kit-ND-NEUTRAL-DENSITY-0-6-0-9-1-2-ND4-ND8-ND16-Made-in-USA                                                                                    These filters reduce the amount of light passing through the camera lens without changing the color of the scene.  They are especially useful in bright light conditions to help prevent overexposure.  Neutral Density filters also allow proper exposure at a wider lens opening for reduced depth-of-field to highlight a key subject by making the foreground and/or background out of focus. The Neutral Density 0.6 Filter, that is the clear one, I leave permanently on the Objective because it increased contrast and color saturation and the elimination of glare from highly reflected surfaces like water and glass. Enhancing filter for deep rich reds, browns and oranges, ideal for fall foliage, rustic barns and wooded scenes. Creatively enhance your portrait and scenic photography. Remember, less light passes through the Lens, you have to change the the Aperture, the f – stop, to a lower number ( more light comes in ) or the shatter speed to a lower number ( it opens the lens longer, more light enters through the Lens, play around and check how it looks like.









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