The “41 Essentials” Digital Guide.

We’ve been wanting to do something like this for a very long time, but never seemed to find the time.
Well, today’s the day.

To take the guesswork out of your next gear purchase we’ve picked the best tools for photographers and filmmakers in our “41 Essential Items” Guide. The complementary download is available HERE.



41 Essential Items by Eduardo Angel.pdf-1


NAB 2016 Announcements.

I’ve been honored to speak at NAB for the past 9 years. A few days ago I was addressed as a “senior” speaker, which feels kinda good but very weird at the same time. One of the many lessons learned is that it’s close to impossible to understand what’s happening in terms of announcements while you are AT the show. There are so many people, so many widgets, and so much noise… It is actually much easier and faster to follow the news and read the reports “from the the trenches” to stay up to date on new toys.

If you are attending the show, I’d love to have you at one of my seminars or simply meet and catch up. I’ll be on Twitter (@EA_Photo) obsessively.

In collaboration with B&H, this year I’m testing two new widgets that are populated automatically; one for Announcements and a second one for B&H specials during the show. I have no idea how this is going to work, but it doesn’t hurt to try. So, here we go!

NAB 2016: Just Announced


NAB 2016: Show Specials



Gear, gear and more gear.

Pretty much after every single consulting session, workshop and webinar we offer, a group of people will ask: what do you recommend for _____?
My answer is always the same “it depends.” Are you shooting alone? Only video or stills also? Do you need to move from location to location? For how long? What’s your budget? Do you already have lenses? If so, what kind/brand/mount?

You get the idea. So as a solution I decided to spend several hour compiling all the gear we use very frequently into 3 short lists: a) when shooting alone, b) when changing locations often and c) when spending more time at each location.
I added a few thoughts on each and every item. I truly hope these lists serve as a guide and more importantly, save you time while researching gear, and lots of money wasted on unnecessary toys.

Simply click on the image to access all three gear lists.

Gear Page 850


If I’m missing some essential items or you have further questions don’t hesitate to shoot me a note or send me a tweet. Happy shooting!


Filmmaking Essentials for Photographers. Mini Courses.

Why Filmmaking Essentials?

One of the main chal­lenges pho­tog­ra­phers face when starting to shoot video is to focus too much on hardware and software, and for­get about the most important part: the story. While this informative course includes some tech­ni­cal infor­ma­tion, the main goal is to provide an overview of the many aspects of filmmaking, and identify potential business opportunities with motion. Click HERE.

The “Filmmaking Essentials for Photographers” course is based on a popular event we have been presenting for several years, but it has been greatly enhanced with additional visuals and examples. Some of the clients and sponsors for the live event include Adobe, Adorama Pro, B&H Photo, Cinevate, Future Media Concepts, Gulf Photo Plus (Dubai), HOW Design Conference, International Center of Photography,, McCann Erickson, NAB Show, Panasonic, Photo District News, PhotoPlus Expo, Photokina (Germany), Savannah College of Art and Design, School of Visual Arts, Sony, and X-Rite, among others.

Eduardo Angel Visuals2

Click on the Image to access FREE Tutorials.

Why these Mini Courses?

Sometimes we don’t have time for three-hour lessons; rather, we just need a quick and concrete answer for a very specific question. Because of that, in addition to longer courses we’ve released these mini courses, averaging three-to-five minutes each. Click HERE.


Click on the Image to access FREE Tutorials.


Filmmaking Essentials for Photographers. Online Intro Course.

In 2011 I was invited along with National Geographic photographer David McLain to present a series of two-day workshops nationwide. The events were produced by Photo Quest Adventures and sponsored by PDN, Sony, Adobe, and other leading brands. The main goal was to help photographers transition into video by simplifying key concepts and providing shortcuts, resources, and advice on what gear to buy.

I have been honored to teach “Filmmaking Essentials” at all major industry events, from PhotoPlus to Imaging USA to NAB, from South America all the way to Dubai, Hong Kong, and Thailand, and at home in New York.

Few people know that I never use the same presentation twice. Each and every time I add things I’ve learned, plug in valuable feedback from attendees, students, and this website’s readers, and I strive to improve the educational experience with better examples and shorter explanations.

When looking at the advancements in digital technology since those first workshops it seems like decades have gone by. Today, we have access to a variety of brands and models of very compact cameras that can see in the dark, shoot 4K or higher resolutions, offer incredible frame rates, and even offer GPS and WiFi features so they can be easily controlled by smartphones and tablets. The future is definitively here.

But something quite odd has been happening to my personal and professional focus. The more gadgets we have at our disposal, the more I’ve shifted towards the craft of storytelling. Instead of getting more stuff, I’ve been increasingly interested in constructing and enhancing my stories to better engage the viewer. Naturally, this approach has been reflected in the educational content I produce.

Now, and for the first time, I’m proud to offer an awesome version of my one-hour presentation online. Click HERE

The “Filmmaking Essentials for Photographers” course is based on a popular event we have been presenting for several years, but it has been greatly enhanced with additional visuals and examples. Some of the clients and sponsors for the live event include Adobe, Adorama Pro, B&H Photo, Cinevate, Future Media Concepts, Gulf Photo Plus (Dubai), HOW Design Conference, International Center of Photography,, McCann Erickson, NAB Show, Panasonic, Photo District News, PhotoPlus Expo, Photokina (Germany), Savannah College of Art and Design, School of Visual Arts, Sony, and X-Rite, among others.

Who is this course for?

Well, as the name implies, this version of “Filmmaking Essentials” covers concepts already mastered by advanced filmmakers or by experienced photographers who are very technically savvy. But I’m confident everyone else could learn a thing or two.

As often as possible we’ll be adding new courses, covering topics like pre-production and post, tips for one-man crews (like journalists) working stills and video assignments, advice on getting started with Color Grading, and many other fascinating subjects. As mentioned above, most of these courses are not and probably won’t be hardware or software driven, but would focus predominantly on answering the why’s, not the how’s, of the fascinating craft of filmmaking.

Also as a first, we are offering several mini-courses (averaging three minutes each and many of them for free) for those who need concrete answers to very specific questions.

So, if this is the kind of content and format you desire, vote with you wallet and let your voice be heard.

Thank you for your continued support. Click HERE to start learning. 

Eduardo Angel Visuals2

Click on the Image to access FREE tutorials.


Essential Filmmaking Gear – Lean and Mean.

On our previous equipments lists (here’s #1 and here’s #2) we covered the essential gear while working with small crews constantly on the move. Today, we’ll list the equipment we usually bring on “Lean and Mean” jobs. On these jobs we usually spend more time at each location, and don’t need to carry everything on our backs, so we can add a few bigger/heavier tools.

List #3 – Lean And Mean

Hybrid or Video Only Assignments
Small Crew On Location But With Some Time To Prep
Example: Maragas Winery Commercial.

In addition to everything on List #1 and List #2 we typically would add:

1. If the job doesn’t require stills I’d swap the GH4s or the Sony a7R IIs for a couple of Canon C100 Mark II bodies (Amazon and B&H). At this point we are seriously considering investing on a couple of Sony PXW-FS7 (Amazon and B&H), but we are waiting to test it against a Sony PXW-FS5 (Amazon and B&H) to make the call.

2. Depending on the job we would add another camera movement tool, like a Glidecam (Amazon and B&H) or a Ronin (Amazon and B&H) or even jibs and dollies. It depends on many different factors.

3. In terms of lighting I usually bring three 1×1 Bi-Color LED Panels (Amazon and B&H) with batteries (B&H) and two Chimera 1×1 Lightbanks (Amazon and B&H) with grids (B&H). That pretty much covers my basic needs. Another option is a Fiilex kit (Amazon and B&H), which I like a lot, but it is too expensive for most people.

4. A Sekonic Color Meter (Amazon and B&H) and a Sekonic Light Meter (Amazon and B&H) are pretty much mandatory.

5. Most of my grip gear is made by Impact simply because it is inexpensive, versatile and durable.  I consider essential a few accessories like adjustable Gaffer Clamps, and Collapsible Reflector Holders (Amazon and B&H) which also double as mic or light stands. These very inexpensive items effectively function as additional crew members.

6. We would bring a second Tenba Transport Rolling Tripod/Grip case (2 total) (Amazon and B&H), add a second Benro S8 tripod (2 total) one more Benro S4 monopod (2 total), and a very compact and portable slider (Amazon and B&H) that would take the same fluid head from the S8 tripod and/or the S4 monopod.

Here’s the complete list of what we are currently using.



Well, there you have our essential gear. There isn’t a perfect gear list, just like there isn’t a perfect camera, but the most essential items have been working great for most assignments. Of course, there are those long and complex projects that require everything and the kitchen sink. If I forgot something essential, please let me know here!

We also have produced several Filmmaking courses on, two of them specifically designed for photographers transitioning into video. Check them out!


Essential Filmmaking Gear – The Moving Crew.

On a previous article we covered the essential gear for solo gigs (List #1). On this article, which we call List #2, we’ll concentrate on the equipment required for longer/bigger hybrid assignments where I’ll have a few more people fulfilling different roles (gaffer/grip, second camera/editor, BTS camera/DIT). We are usually moving from place to place very quickly, so traveling light is essential. When possible, I added direct links to Amazon and/or B&H for your convenience.

List #2 – The Moving Crew.

Hybrid Assignments
Small Crew Constantly On The Move
Example: Panasonic Anamorphic.

So, in addition to everything on List #1 we’d typically add:

1. In addition to my sharpest and heaviest lens, Canon 70-200mm f/2.8 (Amazon and B&H), we’d also bring a Sigma 18-35mm f/1.8 (Amazon and B&H), and a Sigma 24-105mm f4. (Amazon and B&H). These are the same exact lenses I used last year on another one-man Hybrid project in Istanbul and Europe. To make the Canon and Sigma lenses work on the Panasonic GH4 we’ll need a Metabones Speedbooster (Amazon and B&H).

2. Having more space and more people to carry bags, I’d also add a Varavon cage (Amazon and B&H) to each camera body. I like these cages a lot!

3. An Atomos Shogun (Amazon and B&H). We previously wrote an article explaining why this is a must have item.

4. As many SanDisk Solid State Drives (Amazon and B&H) for the Atomos Shogun  as possible.

5. A USB 3.0 reader for the Solid State Drives (which are generously included in the Atomos Shogun kit).

6. A second 6TB G-Tech External Hard Drive (Amazon and B&H).

7. Two RodeLink kits (Amazon and B&H). They are great for interviews and to record clean sound while doing on-camera tutorials or even getting some BTS. The RodeLinks are extremely light, small, reliable and fairly inexpensive.

8. In addition to the monopod (on List #1) I’d add one Benro S8 tripod (Amazon and B&H).

9. I’d add one more Tenba Roadie Hybrid bag (2 total) (Amazon and B&H) for the most expensive, essential and fragile items, namely cameras, lenses, Shogun and hard drives.

10. One sturdy Tenba Transport Rolling Tripod/Grip case (Amazon and B&H) for light stands, tripods, grip, cables, etc. My favorite one is Tenba’s Rolling Case 38


What else are we using? Here’s the complete list.

As you can see, anyone involved in run-and-gun, single-operator scenarios like weddings, events, corporate shoots, documentaries, red carpet premieres, product launches, sporting events, video podcasts, and even student films could benefit from these lists, so feel free to share them.

We also have produced several Filmmaking courses on, two of them specifically designed for photographers transitioning into video. Check them out!

Coming next week: List #3 – Lean and Mean. Working with a small crew but having a bit more time to settle down and prep. Bring the big guns!



Essential Filmmaking Gear – The Solo Gig.

In aviation, an MMEL (Master Minimum Equipment List) is a categorized list of on-board systems, instruments and equipment that must be operative in order to flight. Any additional equipment not included in the MMEL may break temporarily, but it won’t make the aircraft inoperative. For several years I’ve been attempting to create my own MMEL for “hybrid” productions. My simplest definition of “hybrid” is “productions or assignments where a skeleton crew (from one to four people) is required to produce, direct, shoot video and stills, record sound, and even edit. Most of these assignments will be happening on location, more often than not over several days.”

Like it or not, these gigs are becoming increasingly popular. It sounds crazy and indeed, being on the field trying to wear so many hats at the same time can be extremely stressful. The keys to make these projects run smoothly (and even fun) are simple: invest as much as possible in pre-production, bring only the most essential gear, know your equipment well, and be decisive.

Regarding gear, a substantial challenge is how to pack and travel as light as possible while carrying a full production and post-production setup that is literally on your back, so “essential” in my book is something you will use all the time, not “maybe, just in case, what if.”
Over time, we have created three “lists of essential items”, depending mostly on the crew’s size. When possible, I added the product’s link to Amazon and/or B&H for your convenience.

List #1 – The Solo Gig

Hybrid Assignments
One-Man Crew
Example: Japan.

When working and traveling alone, a single carry-on backpack (like a Tenba Roadie Hybrid bag) contains every item I’ll need for up to three days, except some clothes and toiletries that will go on a smaller backpack the gets checked in or shipped in advance. 

Hardware & Software:

1. A small, light and versatile Camera (“Cam A”) to shoot video. In the photo I have a Panasonic GH4 (Amazon and B&H), but I also like the Sony a7R II (Amazon and B&H).

2. A second camera (“Cam B”) to capture stills and B-roll, ideally identical to Camera A. Having the same brand, model and firmware can save you a lot of time in post. Plus the batteries, chargers, media and lenses are the same.

3. I like to carry a third (even smaller) camera for location scouting and behind the scenes stills. My weapon of choice is the Fuji X100s (Amazon and B&H). A compact camera is especially handy after a very long day, when I don’t want to carry more gear but still want to capture a few night scenes of nice-looking dishes during my evening meal. Here’s my original X-100s review. Believe it or not after all these years, I’m still using (and loving) this camera.

4. Two or three lenses. In this case I’d bring a Lumix 12-35mm 2.8 lens (Amazon and B&H) and a Lumix 35-100mm 2.8 lens (Amazon and B&H). I like these lenses because they are the equivalent to a 24-70mm 2.8 and a 70-200mm 2.8, but extremely small and light, yet very sharp and fast (2.8 all the way.)

5. For sound I’d bring a field recorder like the H4n (Amazon and B&H) or a more current model and smaller version like Tascam’s DR-05 (Amazon and B&H) to capture interviews and my own production notes.
While like the versatility of the H4n, it is bulky and too slow to start up, so we are considering something newer like the Zoom H1 (Amazon and B&H). I probably would also add at least one Rode VideoMic (Amazon and B&H) to capture soundscapes and decent scratch sound for interviews. And of course, we need to add good headphones to our audio package. (Amazon and B&H).

6. Two (2) G-Tech 1TB external portable hard drives (Amazon and B&H) and one (1) compact, super fast and awesome 6TB G-Tech External Hard Drive (Amazon and B&H). And by the way, I ONLY trust G-Drives, even if they fail every 14years.

7. A 15″ MacBook Pro (Amazon and B&H) with Adobe’s Creative Suite (Amazon and B&H) and Shot Put Pro. Here’s an article on how we use this software to backup our media on location.

8. A small tripod (Amazon and B&H). This thing is worth its weight in gold. I’ve used it for time lapses, low angle shots, as a handheld rig, car mount, microphone stand, and even to attach small lights for quick interviews. Priceless.

9. Benro S4 Video Monopod (Amazon and B&H). It’s small, relatively light, and sturdy. Works great.

10. A variety of Tenba Tool Boxes (Amazon and B&H) to pack all the batteries, chargers, cables, adapters and other small accessories. At first, they might seem a bit bulky but having everything neatly organized and protected is worth it.

11. One of my favorite photo bags ever, the new Tenba Shootout (Amazon and B&H). It is small enough to meet carry-on size limitations, but large enough to fit my most fragile and essential items. Plus, it is extremely comfortable.

12. In terms of lighting, for these assignments I try to use mostly available/natural light, but I always bring a 5-in-1 collapsible reflector (Amazon and B&H)

13. Two ND filters are essential when shooting daylight exteriors. By the way, we recently found out how to save $250 per filter.

14. Media pouch with ten 64GB SD cards (Amazon and B&H).

15. X-Rite’s Color Checker Passport Video (Amazon and B&H). If you get into the habit of using for a few seconds during production, it will save you hours in post. Guaranteed.


Miscellaneous Items:

1. Obviously, the most important tool if you are crossing any borders: the passport. This website compares the “power” of passports from many different countries, and, as Americans, we are blessed to have the most powerful one.

2. My good ol’ Columbia jacket/vest has been traveling with me to more than 40 countries. It has lots of pockets, a hoodie, and because it has a self-stowing pocket, it sometimes doubles as a pillow on the road. A priceless item, to be sure.

3. Media credentials which sometimes (but not always) can give you special access, get you discounts and the most important part, allow you to travel with some heavy or oversized gear without paying a fortune. Here’s a link to DeltaAmerican, and United Media Baggage policies.

4. A hat, sunglasses and sunscreen — truly essential items.

5. I like to dress in layers and in dark colors when shooting on the road. Black hides dust and stains very easily. A cashmere sweater is worth its weight in gold, well perhaps even more.

6. I always bring gloves unless I’m going to the Caribbean in July, comfortable shoes, and plenty of granola bars.

What else do I bring with me? Here’s the complete list.


As you can see, anyone involved in run-and-gun, single-operator scenarios like weddings, events, corporate shoots, documentaries, red carpet premieres, product launches, sporting events, video podcasts, and even student films could benefit from these lists, so feel free to share them.

We also have produced several Filmmaking courses on, two of them specifically designed for photographers transitioning into video. Check them out!

Are you working with a small crew constantly on the move? In that case here’s our List #2 – The Moving Crew.


Creating the habit of backups.

Creating a new habit isn’t easy. We all know that. And I’m not talking about major changes like exercising more, eating better, or working less, but simple things like backing up our projects, especially when working on locations. The “I’ll do it later” or “this is not a good time” will always be there so by incorporating simple and efficient practices into our standard workflows can make things much easier and eventually save a project or even a client.

ShotPutPro, currently on its fifth version is an application known to many in the film industry. What I find interesting is that even some of those who know about the app and totally get its importance skip the critical backup step. This article covers how we use ShotPutPro on location.

First, we label each and every card, not only with a label (which could fall off) but also by giving each card a unique name. Since we are almost always using two cameras, we name a 64GB card as A1 and a second card with the same exact capacity (64GB) as B1. The same goes for A2 and B2, and so on. When we are replacing a card during a shoot, say C1, we also replace C2, even if there’s space left. This might seem wasteful but it keeps the data wrangling much smoother. After 10 hours, two or three cameras, and several cards, it is very easy to forget what has been dumped and what hasn’t.


As you can see the cards have a unique name that shows on the computer’s desktop/finder as well as in ShotPutPro


Under Preferences, there are several options but the most important ones for us are:

Manual vs Automatic. I prefer Manual, which means I have the option to choose when to start the data transfer. If Automatic is selected, as soon as the application detects a Hard Drive or Memory Card it will start the process.

Under Display Offload Progress I prefer to see how much time will it take to be done. That way I know if I can grab something to eat or do something else or simply sit next to the computer and wait a little longer.

Under File Verification Preferences MD5 Checksum is the most current standard.

I like to use the following format for dates: year/month/day/time in the 24 hour format. So, for example, it would read 20150520_211037.

Under Post-Offload Preferences we have everything disabled except “Play Sound.” I’ve been doing this for years and I still don’t feel comfortable formatting the card right away. You might feel differently.


Back to the main window. Under “Offload Preset” click the little pencil to edit the preset.


This is how our Main Preset looks.
We change the “Suffix” based on each project.
The Output Destination also changes from project to project, simply click the + sign to select an external hard drive / folder /subfolder for your backup.
ShotPutPro can back up to (apparently) endless destinations so you can select two or three hard drives to have multiple copies with a single click.


Now, this is the magical moment. Simply drag and drop your Hard Drive or Memory Cards into the “Drop Files Here” circle. Then click the “Begin” button on the top right of the menu.

Done and done. ShotPutPro created a folder per memory card with the date and exact time of the backup.

A weakness in this app is that if we try to backup the same card again, even to the same destination, it will let us. I’d prefer if it had a similar feature as Adobe Lightroom to “prevent importing suspected duplicates,” but it doesn’t, so once you backup a card I strongly suggest you put it away, grab a fresh one, and keep shooting.


That’s all for now. I hope this helps you. If you have questions or suggestion for similar upcoming articles, feel free to contact me here or here.


The Panasonic GH4 V-Log L. Graded and Ungraded Samples.

A few tests comparing the Panasonic GH4’s default camera profiles with the brand new V-Log L.
The (very quick) grading was done on Premiere Pro CC 2015 and the super awesome Lumetri Color Engine.

Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__004_850 Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__005_850 Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__007_850 Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__006_850Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__012_850 Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__011_850Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__009_850 Panasonic-GH4-V-Log-L-Profile-Comparison-Tests-Eduardo-Angel-Visuals__010_850
Why is V-Log important? Why should we care about camera profiles and external recorders? Read this and watch this to learn more.

Installing V-Log L on your GH4 is far from intuitive and user friendly, but we’ve got you covered. A complete step-by-step tutorial is available for free right here.

The GH4 firmware update (version 2.3) including V-Log L will cost $100, and it will be available in 2 weeks. You can pre-order it now right here.

Related Posts


Video for Photographers: Filmmaking Essentials.

As we have covered in numerous articles before, still photographers can reasonably quickly learn the most essential filmmaking techniques and greatly expand their creative options and the range of professional services.

In our latest course we help bridge the gap between still pictures and moving images, by explaining and showing, what it takes to transition from one craft to the other. We tried our best to include the most essential video productions techniques; from framing and lighting for continuous shots to directing the viewer’s attention and incorporating camera movement and sound, and even offering a brief overview of our post-production workflows.

This course, our fifth on is the “theory course.” Our goal is to explain why certain techniques, steps or tools are important. Other topics include:

• Understanding the 5 Cs of cinematography
• Choosing the right camera
• Framing for continuous shots
• Lighting techniques
• Using camera movement to enhance your story
• Leading the senses with sound
• Working with different microphones
• Editing and post-production considerations

A follow-up “practical” course (available in a few weeks) will cover hands-on composition, camera movement, sound and lighting techniques, among other useful tips like packing and working with very small budgets and crews.



The 8 Best Tools of 2014.

Here are some of the tools that made a real difference for us last year. Just in case, the order in the list is completely random.

Panasonic GH4
What can I say that I haven’t already said about this gem? Tiny, inexpensive, intuitive, sharp, full of features—this is a truly remarkable feat of engineering to take our visual stories to a new level.

Fuji X100S
No, it’s not a typo! I know this is not the latest model, and that’s exactly the point. This little camera is so good that I see no need to upgrade, change, or even try something else. This is the perfect camera to take out on weekends, and when paired with a super sexy, real leather camera strap, the camera not only works well, it makes ME look good!

Sigma 35mm
In the next couple of weeks, Sigma will release a couple of videos I shot for them in Istanbul, Paris, and Belgium. All the lenses I brought with me were extremely good, but the 35mm was so extraordinary that I ended up NOT returning it.

Fiilex Lights
I rented these lights from Adorama for a Lighting Workshop I did in D.C. Among the reasons not to bring my own light kit were size, portability, and the ability to use multiple accessories with the same fixtures. For example, did you know that these lights can use all the accessories available for Profoto? Mind blowing.
The Fiilex more than delivered on all ends, and the guys at Adorama Rental provided their usual stellar job of testing, packing, and shipping the gear in time for my presentation.

Transcend 64GB UHS-3 SD Card
My tendency is to not put all my eggs in one basket, and to not keep all my day’s footage or photos on one card. I resisted switching from 8GB to 16GB for a while, while HD “forced”me into 32GB cards, and 4K made me seriously consider the 64GB Transcend, not only for the additional capacity, but for speed. The card was affordable when it was released and now it is almost half the price I paid for it just months ago. This one’s a no brainer.

DJI Ronin Camera Gimbal
Heavy. Difficult to set up. Costly. But when you make it work, it sings! We shot a lot of stuff with this toy, and the production value it added to our projects was simply outstanding.

Adobe Premiere Pro CC 2014
I was very much against Adobe’s Creative Cloud concept (and wrote about it here, here, here, and here), but after a year or so of using the apps pretty much on a daily basis, I love always having the latest version to work with. The significant efforts that Adobe has put into their video applications is totally worth the monthly payment.

13” Apple MacBook Pro Retina
This turned out to be not as fast as expected, more expensive than expected, and the latest OS X Yosemite was way worse than expected. Yet it made it into my “top tools”list. Why? Simply because the MacBook Pros are still, in my opinion, the best line of laptops available. The fact that we can edit, grade, and export 4K video on a plane or from a coffee shop still blows my mind. But Apple’s reign might be coming to an end very soon. 2015 will be a VERY exciting year for technology. I can tell you that much.

If you like what you saw in this summary and want to know more about how we actually use these tools, please check out our new online courses on along with some of the video projects we worked on during the year.
We look forward to keeping the conversations going this year.


I am a contrarian, or so it seems.

I am a contrarian…. That’s what a good friend just told me.  Why? Well, according to him because:

• I use an Android phone and Tablet. LG and Samsung are good, Lenovo is garbage. I actually got a Nexus 4, a Chromecast and a Nexus 5X the day they were announced. That apparently also makes me an “early adopter.”

Google Nexus 5X

• I purchased a 60D the week AFTER the 5D Mark III was made available and shot for several years with a 7D. I also used (and publicly highlighted) the  Panasonic Lumix GH3 WAY before the GH4 was hot (which I also added to my arsenal). I don’t have a Blackmagic camera, mostly because I love shooting with the Canon C100.

• I have been using Adobe Premiere Pro well before Apple released Final Cut X, and before David Fincher made the Creative Cloud cool.

• I dropped my monthly “all you can talk” cell plan for a “prepaid plan.” It has been saving me at least $1,200 per year. I haven’t used Skype for years, Google Hangouts is the way to go.

• I choose not to own a lot of gear. I believe renting equipment is the best way to provide clients with the best tools for each job, and it also helps to keep my overhead low.

And the cherry on top? We are seriously considering getting an HP workstation for video editing (yes, a PC computer) instead of new iMac or even a Mac Pro.

Well, perhaps my buddy is right….I am a contrarian!

Lego Lucius Malfoy with Cape Wand

But here’s the thing, as a technology consultant I spend a lot of time thinking about what will come next in terms of trends and features. I bet on Adobe Premiere Pro about a year before the flood gates opened. I also have the privilege to see many products, hardware and software, as prototypes or in their beta phases, so even though I generally can’t talk about them, I can wait until they are commercially available or I can get something cheaper temporarily.

LEGO Minifigure Collection Series 4 : Sailor

But perhaps the main reason to be a “contrarian” is that I don’t really care about the name of the brand. What I do care about is performance, reliability, and support. The faster I work, the more time I have to build my business, and the more discretionary time I get to enjoy life offline, and out of the office.

I’m obviously not the only one, check this Fast Company article “5 Contrarian Lessons From Successful Entrepreneurs” and David Ogilvy’s (one of my heroes) “Contrarian Management Advice.”


Adobe Creative Cloud for Photographers.

We recently shared a very good deal on Adobe’s Creative Cloud for Students and Teachers ($16.58 per month for ALL the Adobe applications). Since we use Premiere Pro, SpeedGrade, In Design and other apps this solution makes complete financial sense for us. But, what if you are a photographer using only Lightroom and Photoshop?



Amazon adds storytelling tools to its arsenal.

updated 20140114

Amazon Studios was launched 3 years ago to develop feature films and episodic series. In a new effort to pack another punch to its arch enemy Netflix, as well as increasing its original content catalog, the company has rolled out the beta for “Storyteller,” a free online storytelling tool that (more…)


Apple OS 10.9 Mavericks compatibility for X-Rite color solutions.

The recently released Apple OS 10.9 Mavericks may experience communication issues with X-Rite instruments. To resolve these  issues, users need to update to the latest X-Rite Device Services (XRD v2.3.2) driver software. (more…)


Canon EOS C300 explained for photographers.

For starters, the C300 is NOT “just bigger than the EOS 5D Mark III.” Well, it IS bigger, but it is also a completely different system. The Canon EOS C300 comes in two flavors, one with EF mount (EOS C300) which takes your good ol’ Canon lenses, and another one (C300 PL) with a PL mount.
The camera is compact box, similar in size to a Mamiya RZ with a viewfinder. It is a bit heavy, but very comfortable to use for extended periods of time. (more…)


The Future of Storytelling is Transmedia.

What is the future of storytelling? We’ll begin our day with a story on our phone. On our subway ride to work a new character will be added to the story and we’ll learn all about him on a tablet computer. At lunch we’ll catch up with the character’s newest adventure on our office computer via Facebook. Later in the day the story takes an unexpected turn—and we’ll learn about it from a digital billboard. Before going to bed we’ll plant the seeds for tomorrow’s developments while playing a video game on our television. This is transmedia—the future of storytelling. (more…)


Upgrading PluralEyes 2 to version 3. Worth it?

PluralEyes Upgrade

When shooting with a DSLR camera, and recording dual-system sound, Red Giant’s PluralEyes has been a godsend. Period. We couldn’t even consider working without this awesome plugin. Version 3 has been out for a while. Will upgrading to PluralEyes 3 make us more efficient? Or should we just stick with our trusted friend a bit longer? (more…)


Is Canon following Adobe’s steps?

Canon just released their “EOS Digital Solution Disk V28.1” software suite. As usual, it contains the “Digital Photo Professional”, “EOS Utility” and “Picture Style Editor” applications. So what’s the big deal? For the first time (as far as I can remember) the Solution Disk has been issued only on CDs, but this time it will be available as a download.No conspiracy theory needed here. The real reason behind the online delivery is that many new computers, including the latest Apple iMac (which is super fast and awesome) no longer come with CD drives, so we are all being forced to move to the cloud.

Canon EOS DIGITAL Solution Disk Suite

Canon EOS DIGITAL Solution Disk Suite

Support for Mac OS X includes:
• Mac OS X v10.8
• Mac OS X v10.7
• Mac OS X v10.6

And support for Windows OS includes:
• Windows 8
• Windows 8 (x64)
• Windows 7
• Windows 7 (x64)
• Windows Vista
• Windows Vista (x64)
• Windows XP

Keep in mind that you will need a serial number in order to download the software.
Supported cameras will include Rebel SL1, T5i and 1DC along with other updates.

And talking about Clouds and Adobe, on this post I added a link to Adobe’s MAX 2013 Keynote AND and a second link to the best deal for Cre¬ative Cloud I can find ($20 per month). Here’s a previous article on using Adobe Lightroom with Cloud Storage Solutions.


10 (new) Cool Gadgets for Photographers and Filmmakers. Part 2

6• Convergent Design Odyssey 7.
Two super interesting monitor/recorders are the Odyssey7 and Odyssey7Q by Convergent Design. For $1295 and up you get a 7.7” 1280 x 800 OLED external monitor that also doubles as an external recorder capable of receiving 4K RAW data as well as other compressed and uncompressed formats onto two 2.5” SSDs.

Here’s the twist; out-of-the-box, these two products are monitors only, with all the usual settings (waveform, histogram, false color, vectorscope, zebras, and focus assist) but without any recording or playback capabilities. (more…)


10 (new) Cool Gadgets for Photographers and Filmmakers. Part 1

1• Edelkrone SliderPLUS
Edelkrone’s SliderPLUS is a super-compact and very smooth slider that easily fits onto Tenba’s Video Backpack. Unlike other sliders, this one moves with the camera, taking full advantage of rails’ length. With a price tag of $500, this toy is at the top of my shopping list.

2• Redrock Micro’s One Man Crew Parabolic Camera Motion System
This amazing gadget consists of a motorized parabolic track slider that “guides the camera on a precision-curved track at any speed while keeping the subject stationary in frame.” The system includes speed control, automatic in and out stops, and 36” of track for camera systems under 20lbs. All for $1,500. If you are part of a small crew doing a lot of corporate interviews or a single photographer creating educational content or product demos, this is an extremely attractive option.



Post-NAB 2013 wrap-up.

Our Digital Technology Resource is a monthly conversation about news, trends, and events for photographers and filmmakers. On our upcoming issue we highlight the most relevant products and trends we witnessed at NAB, including:

• Edelkrone SliderPLUS
• Redrock Micro One Man Crew
• Blackmagic Pocket and 4K Production Cameras
• Atomos Ninja 2
• Convergent Design Odyssey 7
• Tascam DR-60D and Samson Zoom H6
G-Tech Evolution Series.
• Adobe Lightroom 5 and Premiere Pro “6.5”
• Imagine Products ShotPut Pro

It is never too late to sign up. Do it now!

Did you miss a previous issue? Don’t worry, be happy. Here are the links:
January 2013 Issue
February 2013 Issue
March 2013 Issue

NAB Show 2013 Highlights


Adobe Lightroom 4.4 is out. 25 new cameras supported.

Adobe just released a new Lightroom update making this version 4.4. Lightroom now officially supports over 25 different RAW file formats. Here is the complete list.

This version adjusts the White Balance for a number of Nikons, includes a correction to the demosaic algorithms for Fujifilm cameras with the X-Trans sensor, and adds support for new lenses like Canon’s EF 24-70mm f/4 L IS USM and Nikon’s AF-S NIKKOR 70-200mm f/4G ED VR are included. Unfortunately the Panasonic Lumix lenses are still missing.

According to Adobe, users are now (finally!) able to add contacts from their Address Book to email (on Mac). I’ll try this ASAP.

Fujifilm X-Trans sensor.These are the main improvements added and bugs fixed:
• The crop overlay tool resized incorrectly when used in conjunction with the “Constrain to
Crop” checkbox in the Lens Correction panel
• Background graphics were not correctly rendered within the Book Module
• Reading metadata from file would sometimes result in keyword and and GPS metadata to
not save for video files
• Updated the “Missing File Icon” for HiDPI / Retina dispalsy
• The supplied lens profile for the Sony RX-1 did not contain vignette information
• Preview in Develop Module was not updated with the latest adjustments
• Square tile artifacts while painting with brush
• Previews of photos in portrait orientation were blurry when viewed in the filmstrip in the
Develop module. (Mac only)

Click to keep reading  (more…)


Shooting with the Panasonic Lumix DMC-GH3. Field report and impressions.

The friendly waiter at the Turkish restaurant in Sohar, Oman, saw the camera on the table and asked “Nikon? Canon? Which one is better?” To which I replied, “actually, this is the Panasonic GH3.” He stared at me, his expression turned from excited to perplexed to confused to annoyed within seconds. After an uncomfortable silence he finally asked, “Are you ready to order?”

EduardoAngel_Panasonic_Lumix_DMC_GH3_SampleImages _001

That was pretty much my reaction when, a few weeks ago, just two days before I started teaching a “Digital Cinema for Photographers” event in Dubai, I found out that Panasonic, a major sponsor of the event, REALLY wanted me and my students to use a couple of GH3s and several lenses in my hands-on workshop.

Panasonic is one of the largest consumer electronics companies, and the GH3 is the third generation of their very successful Micro Fourth Thirds DSLM (Digital Single Lens Mirrorless) system. For a while I have been aware of the low-budget-filmmaking community’s devotion to the hacked DMC-GH2 and its ALL-I codec. I saw the DMC-GH3 at Photokina last year, but I had never before shot a single frame with a Panasonic camera. The bodies that I was given were running Firmware v0.5. Add to this a nine-hour time zone difference and jet lag, and you can begin to imagine my pain.

While I’ll be using some geeky terms, this is not an in-depth technical review, nor a scientific analysis of the GH3. You can dig into tech specs and MTF charts somewhere else. My goal is simply to share my honest and independent impressions, go over the things I liked and didn’t like, and communicate my wish list for future features. I want to emphasize that all the conclusions in this article are subjective and strictly based on my own personal experience.

“I have to warn you, I’ve heard relationships based on intense experiences never work.”
-Keanu Reeves in “Speed”

I have to respectfully disagree with Keanu on this one. Much to my surprise, the camera was much more intuitive than Sony’s NEX system, and several video features got my full attention right away.

• Full HD 1920×1080 60p/50p (NTSC/PAL) with 30p/25p/24p options.
• Ultra-high bit rate video recorded at 72 Mbps (ALL-I) or 50 Mbps (IPB).
• Capable of recording continuously for an unlimited time for NTSC and 29 min 59 sec for PAL.
• Native support for MOV (h.264), MP4, and AVCHD formats.
• Time Code support in the MOV and AVCHD formats.
• Extremely fast and accurate contrast-detection Autofocus.
• A 3.5mm mic input AND a headphone jack AND the option to manually adjust the sound recording levels via touchscreen controls.
• Full-time AF, AF Tracking, and Face Recognition AF are available for VIDEO. The Touch AF mimics rack focusing.

Not having enough time to field test the Panasonic systems before the Workshop, I shot dummy clips in my hotel room and made sure that the footage would work in Adobe Premiere Pro CS6. The test went surprisingly smoothly. I then set both GH3 cameras to the same video settings: MOV at 1920×1080, 24p, 72 Mbps ALL-I, Standard Photo Style, White Balance at 5500K, got ND filters for all the lenses, extra batteries, and a few Class 10 SD cards. And then I prayed.


SD 16GB class10

You must use a Class 10 SDHC card when recording Ultra-high bit rate video at 72 Mbps (ALL-I).

Note: It’s extremely important to point out that full HD on this camera requires memory cards with the fastest speed available. My “older” memory cards didn’t work, giving me only four seconds of recording time.

We spent the first day of my three-day Digital Cinema Workshop  covering all the technical similarities and differences between stills and video. On the second day, we planned a location shoot with a Capoeira team and spent a couple hours shooting in the afternoon. On the third and last day we covered the different hardware and software requirements for post production and spent three hours editing the footage. I am especially proud of the short clip my students put together in such a limited amount of time and with newly acquired knowledge (and using brand new gear!).

Capoeira in Dubai. Student Project. from Eduardo Angel on Vimeo.

We could obviously use a few more days sweetening the audio, fine tuning transitions, and grading, but for a two-hour shoot and a three-hour edit, I believe this is a good example of what can be accomplished with great teamwork, interesting subjects, and the GH3’s many customizable options.

Below you will see a few additional sample clips, all shot as H.264, 1920 x 1080, 23.976 72Mbps ALL-I, using the GH3’s “Standard” profile (Contrats = 0, Sharpness = 0,  Saturation = 0, Noise Reduction = 0). The Exposure and White Balance were set manually. The lens was the Lumix GX Vario 12-35mm F2.8 set on AF Tracking mode, which worked very well most of the time. Despite the lens having “environmental sealing,” as you can see the fine desert’s sand inevitably found its way to the sensor. I put the clips together on Adobe Premiere Pro CS6, and have NOT done any grading nor sharpening. These short clips are intended to show you what the GH3 is capable of, not to tell a specific story.

So, mission accomplished, right? Not so fast. A couple of days later, as I was wrapping up my day, a friend asked “Are you busy? I wanna show you something interesting.” With only the GH3, the 12-35mm 2.8 lens, a 4GB card and a low battery I jumped into his car. The “something interesting” happened to be access to the Royal Suite at the 7-star Hotel Burj Al Arab—a notoriously difficult area to access. With limited amount of storage space and battery life I managed to capture a few keepers.

EduardoAngel_Panasonic_Lumix_DMC_GH3_SampleImages _008

The 7-star Burj Al Arab hotel resembles a giant sail rising over the Gulf, with changing colors visible for miles at night.

EduardoAngel_Panasonic_Lumix_DMC_GH3_SampleImages _002

The very next morning (on my “day off”), I headed out to meet an old friend for brunch at the Atlantis. Should you ever find yourself in this neck of the woods, I strongly recommend that you pay the Atlantis a visit. As we enjoyed the seemingly endless food, my friend received a call to drive to Abu Dhabi right away to pick someone up and then drive back to Dubai. Would I like to come? Guess what I had hanging on my shoulder? This time I had a full battery and a 16GB card, but nothing else to shoot the magnificent mosque and the impossibly opulent Emirates Palace. Once again, the GH3 did a fantastic job.

EduardoAngel_Panasonic_Lumix_DMC_GH3_SampleImages _003

A nice view from a 25th floor overlooking the magnificent Emirates Palace in Abu Dhabi.

These are some of the GH3’s features that are not obvious to the naked eye, but are interesting once you are aware of them:

• A magnesium alloy camera body that Panasonic describes as “splash proof and dust proof.”
• The Panasonic RAW files (RW2) work fine in Adobe Lightroom [add link to LR workshop] but the most current version (4.3 as of this writing) is needed. Unfortunately there are no Panasonic lens profiles available as of this writing.
• All the video formats worked seamlessly on Adobe Premiere Pro CS6. Even the video recorded at 72 Mbps was easy to preview and edit on a two-year old MacBook Pro (with 8GB of RAM and an external 7200 RPM Hard Drive as a Scratch Disk).
• HDMI monitor output can be sent with or without information overlays.
• I had a DMW-MS2 Stereo Shotgun Mic with me, but was happy to learn that the camera’s built-in internal microphones provide stereo audio.
• The GH3’s sensor has a 4:3 aspect ratio.
• Built-in Time Lapse, and HDR but unfortunately it works only for JPGs not RAW.
• Five physical function buttons, and two touch-screen function buttons, all customizable with close to 40 options to choose from.
• Virtually all the key shooting controls are within the right hand’s reach. This frees up the left hand to hold the camera or focus manually.
• Excellent battery life, lasting a full day under normal operation. For extended video sessions I’d consider getting the DMW-BGGH3 Battery Grip.
• Apparently (I have not tested this) the GH3 is also capable of real-time image output to the LVF or the rear monitor AND to an external monitor via HDMI.


DMW-MS2 Stereo Shotgun Mic

I shot extensively (more than 2,000 images in 18 days) with the Lumix GX Vario 12-35mm F2.8. The lens is tiny. And fast. And awesome. It has the equivalent focal length to a 24-70mm F2.8 on a 35mm system but it is a fraction of the size and weight. As you already know, this is a very good start when dealing with packing issues.

12-35mm lens

Lumix GX Vario 12-35mm F2.8

In terms of depth of field, the lens behaves like a 16-45mm F3.5 lens on an APS-C sensor, or a 24-70mm F5.6 lens on a Full Frame sensor. It is hard to get used to this, especially when shooting another system simultaneously, but it is not a disadvantage per se.

Click to keep reading (more…)


Adobe Lightroom Tips and Tricks 004. Creating Storyboards.

Today’s Tip & Trick is about creating a storyboard in Adobe Lightroom. Have you used storyboards on previews projects, and if so, which application did you use?

If you don’t need all the Adobe Creative Cloud bells and whistles, consider their photography plan which includes Photoshop CC + Lightroom 5 and 20GB of cloud storage for only $9.99/month!

Got specific questions or want to learn more? We offer vir­tual one-on-one ses­sions to give you cus­tomized solu­tions and per­son­al­ized train­ing no mat­ter where you are in the world. Sign up now!


Adobe Lightroom Tips and Tricks 003. Editing Capture Time

Pretty busy week, so we will keep this one nice and short.

Tip 003 – Editing Capture Time.

An issue that many photographers experience while shooting away from home is that they forget to change the time settings on the camera. When downloaded, the images will display the incorrect capture time. Thankfully, this is very easy to fix in Lightroom.

Simply select the image(s) you want to update. Go to Metadata and click on “Edit Capture Time.”

Editing Capture Time in Adobe Lightroom

As you can see below, there are three options. Select the one that better matches your needs.
Editing Capture Time in Adobe Lightroom

Another situation when this becomes extremely handy is when scanning images. Since the embedded info will be missing a Capture Time you can easily add it this way.
Keep the questions coming and we will keep answering them!

If you don’t need all the Adobe Creative Cloud bells and whistles, consider their photography plan which includes Photoshop CC + Lightroom 5 and 20GB of cloud storage for only $9.99/month!

Got specific questions or want to learn more? We offer vir­tual one-on-one ses­sions to give you cus­tomized solu­tions and per­son­al­ized train­ing no mat­ter where you are in the world. Sign up now!


Adobe Lightroom Tips and Tricks 002. Exporting directly to Dropbox.

Here’s our second Lightroom Tip & Trick: How to quickly export images from Lightroom to Dropbox and share the link with your clients. Unless you LOVE burning CDs and DVDs you can really use this one. If you don’t have a Dropbox account, you can get one with 2GB of storage for FREE. Yes, you read that correctly. Now, you and I can get an additional 500MB of bonus space each if you choose to use this link which is also free.

This is one way of doing it. Another way is to set up your Dropbox folder as a Hard Drive in Lightroom under your “Publish Services” (see image below).

Click to keep reading (more…)


Our 10 hidden gems of 2012.

Earlier this week we shared with you our “Crème de la Crème” of 2012, the 10 most visited articles on this site. Today, we would like to share 10 more articles that we feel should have made our top ten list. As a team of educators, technology consultants, and visual storytellers, we are very proud of these posts as we feel that they are extremely relevant and worth your time. We encourage you to read them, share them with those who might be interested, and respond by starting a conversation below.

Without further ado here they are:

1) How to fix a broken education system. My thoughts.

We believe young students should be learning flexibility, teamwork, accounting, time management, project management, and languages (especially Spanish and Chinese), to be prepared for the future job markets.

Fixing a broken education system.

How to fix a broken education system

2) Notes from the Field.

Check out my personal notes and pre-production techniques for photographers and filmmakers.

My notes.

My Notes from a pre-production plan

 3) Same, but different:  An Intro to Digital Cinema.

We explained the 5 main similarities, and 5 main differences between shooting stills and shooting motion.

Digital Cinema Intro.

An intro to digital frame rates and shutter speeds

Click here to keep reading  (more…)


The Crème de la Crème: The best articles of 2012.

Wow! What a year! We completed 200 Consulting projects, over 30 Photography and Video Workshops, 50 videos, 50 tutorials and close to 200 blogs posts….all in one year.

How was this even possible? One, this is a team effort, where everybody does what they love and excel at. Second, great time and project management, which is paramount in an industry that keeps changing (and sometime evolving) every single day.

We want to sincerely thank our subscribers (if you are not one, it is not too late. Join here) and followers for all of their continued support and feedback.

Today we would like to highlight our 10 most popular articles of the year. Later this week we will publish the 10 articles that for whatever reason didn’t get much attention but we feel are very relevant and worth your time.

Here we go!

1) Upgrading to Adobe Lightroom 4 in 7 simple steps.

No matter what previous version of Adobe Lightroom you use, it is very easy to install and upgrade to the latest Lightroom 4 platform.  Find out  how easy this is below.

Upgrade to Adobe Lightroom 4.

Adobe Lightroom 4 Catalog.

2) Canon EOS M Hands-on Review and Canon EOS M Images.

After several tests, we discussed the best and not so great features of Canon’s EOS M. Also, we shot some sample images with this mirrorless gem.

Canon EOS M Review  &  Canon EOS M Images

Canon EOS M Interior

 3)  Canon EOS Mark III, 5D3, 5D Mk III has arrived!

An in-depth technical analysis on the latest, newest, meanest Canon EOS system.  Our overview included the most important and newest features.

Canon EOS 5D Mark III


Canon EOS 5D MK3



Cloud Storage Solutions and Adobe Lightroom.

In the past couple of weeks, we have done several One-on-One Consulting sessions where the “Cloud Storage” question came up. This is a very quick overview of the most popular online storage options with pricing and direct links to each.

My own situation:
• My Lightroom Catalog has 70,000 RAW Images. I shoot a lot, but I am merciless editing.
• The entire catalog (NOT the RAW files) takes about 26GB of space.
• The RAW files take about 860GB of space.

This means I need about 900GB of storage space if I wanted to move my Lightroom Catalog, including all RAW files, to the Cloud.

Dropbox customers are provided with 2 GB for free. 

100 GB
Monthly $9.99
Yearly $99.00

200 GB
Monthly $19.99
Yearly $199.00

500 GB
Monthly $49.99
Yearly $499.00

IMPORTANT: If you don’t have a Dropbox account, use this link to get started. You get 2GB for free, and we both get an additional 500MB as a bonus. Hurry up!

Click to keep reading  (more…)


Adobe Photoshop CS6 • Updates and Workarounds.

windows xp broken window

Back in April, when Adobe Photoshop CS6 Beta was released, the company dropped offi­cial sup­port for Win­dows Vista, but it continued supporting Windows 7 and XP users.

A couple of months later, Adobe gave an “advanced warning” that 3D feature upgrades in Photoshop CS6 would no longer be supported with Windows XP. Additionally, Photoshop CS6 (13.0) will be the last major version of Photoshop to support Windows XP.

Even though it is ancient, Windows XP is still the best selling Microsoft OS, and makes up nearly 40% of their market share (after having peaked at 76.1% in January 2007), it is somewhat expected that Adobe’s software developers now insist on the latest upgraded versions of Windows OS (Windows 7 and 8) to run their applications.

This is what Adobe had to say:

Photoshop CS6 already demonstrates that relying on a modern operating system, graphics cards/GPUs and graphics drivers can lead to substantial improvements in 3D, Blur Gallery and Lighting Effect features not available to Windows XP customers. The team hopes that by providing this information early it will help you understand our current decisions around operating system support and where we we’re headed with future releases of Photoshop.

We encourage all customers who are currently using the 3D features in Photoshop CS6 Extended to begin upgrading their video card/hardware now so they can fully take advantage of future Photoshop innovations as soon as they are available.

Creative Cloud members will also be required to update their vRAM to at least 512 MB in order to access 3D features found in Photoshop CS6 Extended.  If they don’t update, they’ll see the following dialog box:

Click here to keep reading  (more…)


Adobe Premiere Elements 11. Worth it?

Back in May, Adobe announced Photoshop CS6 and Premiere Pro CS6 with a new user interface.  Now, the company has added that new look to Photoshop Elements 11 and Premiere Elements 11. Both applications are less intimidating for newcomers, allowing quick and easy organization, editing and sharing of media, and targeted for new photographers or video editors.

Integration with Google Maps

Both apps include an image organizer that closely resembles Adobe Bridge, making the most commonly used functions easily accessible, while other tools are hidden away in the menus. The new organizer is laid out as a 3 column panel in Photoshop Elements 11 and integrates with  Google Maps, just like the Map Module in Adobe Lightroom 4. Additionally, tagging photos and videos with people or events (mimicking Facebook) is now possible.

Since Premiere Elements includes “Expert” workspaces with interesting transitions and effects, this might be a good product for photographers transitioning into video. The goal is not to become an expert video editor, but understand NLE apps and more importantly, the required assets to put together a video project.

click to keep reading (more…)


Interview with ADF at Photokina.

Here’s another interview from last week at Photokina, this time for the Arbeitskreis Digitale Fotografie or ADF, which means the “Working Group on Digital Photography” and is the equivalent to the APA or ASMP in the U.S.

This link has an interesting collection of photography links in Germany, including museums, education, journals, and other relevant online services.


Canon EOS M Images.

UPDATED 0828 Canon EOS M – Part II. Hands-on Review

Yes, the answer is a most emphatic YES to everyone who has asked if I plan to purchase the brand-new Canon Mirrorless system. I just placed my order here. You have until October to change your mind. I seriously doubt I’ll change mine.

So, in a nutshell, we have a tiny camera body with a powerful DIGIC 5 image processor, and a very nice APS-C 18.0 Megapixel CMOS sensor, which is the same sensor size one finds in the wonderful EOS 7D and EOS 60D. The touch screen and UI are virtually identical to the brand new Rebel T4i.  Apparently you can purchase the body only, but I have only seen the kit with the EF-M 22mm ƒ2.0 pancake lens. All the expected features like ISO settings from 100 to 12800, with expansion to ISO 25600, standard  aspect ratios (3:2 plus 4:3, 1:1 and 16:9), and  1080p at 24/25/30 fps and 720p 50/60 fps are there, BUT now we have continuous autofocus.

Canon EOS M Movie Resolution

The hybrid (stills and video) AF system uses “phase-difference AF to achieve approximate focus and drive the lens at high speed, then switches to contrast AF for final focusing.” The movie files are recorded in MPEG-4 format, using AVC.H.264 compression and a variable bit rate. Program as well as and manual shooting modes are supported in movie mode.

And the cherry on top? The EOS M will take EF lenses thanks to the adapter shown below.  Enjoy the view.

Canon EOS M Cross Section

Canon EOS M Lens Mount Adapter

Canon EOS M Lens Mount Adapter

click to keep reading



Great interview with X-Rite Coloratti on Color Management.

Last month, I was invited to join the prestigious X-Rite Col­oratti team, which includes the world’s top pro­fes­sional pho­tog­ra­phers. I was interviewed by X-Rite about my work, as well as my thoughts on color management for digital photographers, and specifically for those shooting video. We also chatted a bit about my views on how video has changed the playing field for all professional photographers. Please take a few minutes to listen to this short clip of our conversation.

We recently shot a series of video tutorials, focusing on the importance of color management and monitor calibration for video editing. Here’s the most recent episode.

If anyone is interested, there are a few spaces left at my upcoming workshop: Inkjet Printing: Color Management and Calibration at the International Center of Photography in New York City, Aug 4th, 2012.

Please feel welcome to leave any feedback, questions or comments below.


Getting in touch with your tablet.

I have been thinking a lot about tablets and how they are making our lives easier and more productive.  For me, the answer is yes and no.

I recently discovered a newer company that is taking some serious steps forward in changing the way we experience digital media on tablets and similar interfaces.

Senseg, established in 2006, has produced a brand new touch technology, called “E-Sense,” with highly tangible effects that deliver different touch sensations according to the media you are working with.

Think about it; the device itself will have a form of nonverbal communication directly with a user.  It also provides tremendous educational opportunities, especially for the visually impaired. I would love if a digital braille keyboard or an application to read e-books for the blind was developed with this new E-Sense technology.

Senseg Touch Technology

According to Senseg, each application will be able to react to different user actions:

“Whether it is used to minimize visual focus required for accurate operation, or to enrich a multi-modal experience incorporating graphics, sound and feel. Senseg haptics are often used in combination with graphics or/and sound for a more engaging and complete sensory experience; other times Senseg effects are used by themselves, such as ‘tagging’ the location of hidden objects that can be discovered only by feel, or to reinforce user actions.”

Senseg’s solution is comprised of three main components:

  • A Tixel™ technology that activates the touch screen for electrostatic vibration.
  • An electronic module that controls a signal for touch intensities, effects and special relationships.
  • Software developed by Senseg that manages effects in applications.

Did I mention that the new technology is completely silent, and will be able to scale from any device, from touch pads, smart phones and tablets to the largest touch screens?

When do you think we will “feel” the difference?  Feel free to share your thoughts and opinions below.


Google Nexus 7 Tablet is out.

UPDATE: 0723 Awesome marketing effort. Very well done.

Google’s Nexus 7 Android Tablet is here. The tablet is built by ASUS, which really makes me wonder what Google plans to do with Motorola Mobility.

google nexus 7 tablet

The Nexus comes fully packed with goodies:

• It runs the latest Android OS 4.1 Jelly Bean, which is optimized for smaller tablet screens, magazines and movies.
• 1280×800 IPS display coated in “scratch-resistant glass.”
• Front-facing, 1.2-megapixel camera.
• 198.5 x 120 x 10.45mm case
• Two flavors 8GB ($199) or 16GB ($249) of storage, plus 1GB of RAM, and NVIDIA’s quad-core Tegra 3 SoC processor. Don’t worry about the Russian-like specs, it simply means it is fast, really fast.
• GPS and Bluetooth and 802.11b/g/n Wi-Fi, and Micro USB, plus NFC.
• The 7 stands for the tablet’s size, 7 inches, which as I have said many times, it is the perfect size for a truly portable device.
• Accelerometer, magnetometer, and a gyroscope.

The Nexus 7 seems, at least on paper, the ultimate Kindle Fire killer if it ever ships! Lenovo, with its incredibly terrible customer service and tech support doesn’t need a competitor to kill itself. I believe the iPad will remain the global tablet leader through the next 3-5 years, but it will start losing some significant market share. Apple’s biggest advantage has been the App Store which now has more than 650,000 downloadable applications that include games, news and travel tools for the iPhone and iPad. Google has been catching up and Google Play (previously known as Android Market) currently offers more than 500,000 apps.

We just updated our wildly popular chart to include Google’s brand new system. Here are the side-by-side specs (click on it twice to see it full-res):

Google Nexus 7 side by side specs

UPDATE: July 9, Is Google selling the Nexus 7 at a loss?


Apple announces 2012 products – News Summary for busy people.

UPDATE July 9: HP unveils four new business and consumer all-in-ones with Ivy Bridge processors, will Apple react with an updated iMac?

Our summary of the most relevant news at Apple’s annual Worldwide Developers Conference keynote today:

MacBook Pro

• The MacBook Pro 17″ is dead.

• The (13″ and 15″) MacBook Pro line has been updated. Some models include a 2880 x 1800 pixels retina display (220 pixels per inch), Ivy Bridge processor and thinner designs (some models are as thin as the MacBook Air). The best “new” feature in my opinion is the USB 3.0, which is TEN times faster than USB 2.0.

• The 13″ MacBook Pro gets a dual-core processor.

• The 15″ gets a quad-core processor, and a GeForce GT 650M graphics card. It will take up to 16GB of RAM, has HDMI, two USB 3.0 ports (compatible with USB 2.0), two Thunderbolt ports, and the same SD card reader as before.

MacBook Air

• The MacBook Air has a USB 3.0 and bigger SSD drive (up to 512GB) which is not big enough for many professionals on the road.

Mac Pro

• After two years waiting digital retouchers, video editors, motion graphic artists, and anyone using a MacBook got a minor update; a speed bump and increases in RAM. The storage and video specs as well as USB 2.0 ports instead of USB 3.0, or Thunderbolt remain the same. Interestingly, the Mac Pro wasn’t even mentioned during the WWDC event, which makes me believe that this will be the last Mac Pro we see.


Nothing new, unfortunately. I am in the market for a new video editing station, and the lack of a new iMac is pushing me strongly towards an HP Z1. One of the HUGE advantages of Adobe Premiere Pro CS6 is that it works with Mac and PC, and you won’t even see the difference. After talking to several Adobe gurus, I am considering the HP option very seriously.

OS X Mountain Lion

OS X Mountain Lion is shipping next month, and will cost $19.99. Upgrades are free for those that buy a Mac today.

• OS X Lion already integrates with Apple’s iCloud service. Another army enters the Cloud War.

• Several new apps including Messages, Reminders, and Notes.

• There’s a new Safari which now syncs all your Apple devices. I need a lot more than this to switch from Chrome and/or Firefox.

iOS 6

I can take a nap now.


Adobe Lightroom 4.1 is (finally) available.

The Adobe Lightroom 4.1 update brings support for several new cameras including:

  • Canon EOS 1D X
  • Canon EOS 5D Mark III
  • Canon EOS 60Da
  • Canon PowerShot G1 X
  • Fuji X-Pro1
  • Leaf Credo 80
  • Nikon D4
  • Nikon D800
  • Nikon D800E
  • Olympus OM-D E-M5.

Other additional features and enhancements are:

• The ability to process HDR TIFF files. (16, 24 or 32-bit TIFF files)
• Additional Color Fringing corrections to help address chromatic aberration.
• Save photobooks created in the Book Module to JPEG
• Publishing photos to Adobe Revel is now accessible via a Publish plugin
• Corrections for issues introduced in previous versions of Lightroom.

To see all the original features see this article and to understand the new VIDEO features check this one.

How to install the new version? Easy.

1. Open your Lightroom 4 and when the software update dialog pops up click “download.” This will take you to Adobe’s download page.

2. Click on “proceed to download” and “download now.”

3. Save the file to the desktop (so it is easier to find it). The download should take about 3 minutes or less.

4. Double click on the installer, follow the step-by-step instructions.

5. Enjoy.

In two weeks we will be presenting an awesome 2-day Lightroom 4 Workshop at the School of Visual Arts (SVA). We hope to see you there.