EventDV.net
Search EventDV

EVENT-DV 25
2010 Awards Show
2009 All-Star Team
2008 All-Star Team
2007 All-Star Team
2006 All-Star Team


RELATED SITES
Streaming Media Producer
OnlineVideo.net
Streaming Media


PRIVACY/COOKIES









Copyright © 2004 -
Information Today, Inc.



December 02, 2010

Table of Contents

Inspiration in Full Sail: POSH 2010
In the Field: On-Camera LEDs From Litepanels and LCD4Video
Canon Filmmakers Live Announces 2011 Tour with Philip Bloom
Boris Continuum Complete Delivers 3D Titling to Sony Vegas Pro 10
Matrox Adds Exciting New Workflow Features to Matrox MXO2 Product Line
CHV Releases The Enhanced Essentials Collection
Skyworks Joins Footage.net

Inspiration in Full Sail: POSH 2010

On November 8, 2010, 42 female visual artists from around the world boarded a cruise ship in Port Canaveral, Florida for POSH 2010. POSH, an educational workshop and retreat for women, is the brainchild of Jennifer Moon of Northernlight Filmworks and Reagan Zugelter of Studio Z Films. Jen and Reagan had recognized a need in our industry for female filmmakers and photographers to come together to connect, educate, and inspire one another. As we found our way around the ship that Monday afternoon, and began to meet one another, Jen and Reagan's inspiration started to become a reality.

At this point we were still connected to our families, our friends, and our companies because of our proximity to the mainland. That general obsession we have with our iPhones/Droids/Blackberries/whatever began to dissipate as we cruised further out to sea and that was when we really began to connect with each other. By Tuesday, we were ready to hear our first presenters, Brea McDonald of Brea McDonald Photography and Dawn Kelly of Soirée Floral, walk us through the anatomy of their collaborative photo-concept "inspiration shoots." Although their presentation was excellent-and good preparation for the inspiration shoot we'd undertake shortly thereafter—I think what many of us valued most about their presence at the retreat was the different perspective of the event industry that they brought to POSH.

POSH 2010

Tuesday afternoon we hit Coco Cay in the Bahamas for the inspiration shoot. There's a moment from the inspiration shoot that I think will always represent the POSH experience for me. My POSH roommate, Jennifer Leyva of Cabana Pictures has been getting into film recently and had brought her Canon Scoopic M 16mm camera along. So there we were, standing under the shade of a palm tree, steel drums playing in the background and, rather than a rum drink in hand, Jennifer has a roll of film in hand, and was getting guidance from Kristen* of Bliss Productions on the best way to load the film into that beast of a camera. The moment just encapsulates everything that was right about POSH: sharing our knowledge with one another.

POSH 2010

Sometime over dinner on Tuesday night, it was suggested we should create a short film to illustrate the positive power and passion of women in the film industry. For POSH co-founder Reagan, that moment really stands out. "Everyone in the group decided to give up some of their free time in Nassau to create and shoot the concept film we create. It was a moment that I will never forget. I looked around the room, seeing women from all over the world come together for one common goal: to continue to further the recognition of women filmmakers and photographers as not only talented artists, but as successful business owners."

We Create from POSH on Vimeo.

Thursday morning found us starting a day full of seminars. Jen and Reagan helped us identify real-world strategies to find that work-life balance which many women find elusive. Tasra Dawson of Dare Dreamer Media and Tasra Mar | Transform illustrated how multitasking was counterproductive and presented a seminar so emotionally powerful I found big, fat tears rolling down my cheeks by the end of it. I don't know if I can do Jessica Roman's presentation justice by trying to sum it up in a few sentences. She isn't the woman behind the man. She is the woman. The industry wisdom she shared was invaluable and I'm still in awe of what a talented and strong person she is.

One of the first questions Kristen* asked us in her seminar was "What differentiates us as female filmmakers from our male counterparts?" Apart from some of the obvious things, like the seemingly male obsession with the newest and coolest tools of our trade, we all kept coming back to the emotional connection we make with our clients. If Kristen* helping Jenn load film in Scoopic was the spirit of POSH, then the message of her seminar was the heart. We shoot and edit from the heart. If we're pushed for time, we might forgo a sweet slider shot during a bridal prep sequence to capture an intimate moment with the bride and her mother. In post, a beautiful, technically perfect shot may get cut in favor of a slightly out-of-focus shot, because the out-of-focus shot has more emotional impact or because it advances the story most effectively.

Because this was the inaugural gathering for POSH, I'm not sure if any of us really knew what to expect as we boarded the Monarch of the Seas that sunny afternoon. We knew that we would have the opportunity to hear from some of our industry's leaders on a variety of topics that pertained to us individually and as a group, but we got so much more. We got recharged. We got inspired. We found out we aren't doing this by ourselves, even if we're a team of one in South Dakota. We communicate through social media. We pick up the phone and call one another. We get together when we can. We collaborate. We create.

POSH 2010

Jen Moon summed up the whole event by saying, "I think the thing that stood out most to me was how we have connected women from all over the world and created lifelong friendships. That was what I wanted most out of POSH: to create a community of strong women filmmakers and photographers, one that we could bond within and help each other out." Mission accomplished.

Joanna Banks-MorganJoanna Banks-Morgan (info@diva-productions.com) of Diva Productions has spent most of her 41 years in newsrooms or on sets. She attended Cardiff University's Journalism, Film, and Television program in Wales and started her career in 1992 with British broadcaster Westcountry Television. Before creating Diva Productions in 2007 with husband/business partner Robert Banks-Morgan, Joanna worked for CBS 42 KEYE in Austin.

Back to Contents...

In the Field: On-Camera LEDs From Litepanels and LCD4Video

The problem with incandescent on-camera lights is that they’re inefficient and draw a lot of power. The byproduct of this is that they produce a lot of heat. This creates a problem in a studio environment, where you are trying to balance the heat levels so your talent doesn’t melt and keeping the air conditioning off so your audio technician doesn’t complain. With on-camera lighting, the heat from a single light isn’t likely to affect the room’s temperature, but the additional power requirements mean that the camera operator needs to carry large batteries, typically expensive lithium batteries or heavy lead-acid batteries.

When I first started producing videos, I filmed a lot of weddings and social events, so an on-camera light was a necessity. I started out using the heavy but versatile Lowel Pro-light. What I liked about that light was that it could be powered by either DC or AC when I changed bulbs. Unfortunately, the light was way too heavy for a camcorder (nonshouldermount) when used handheld, so I relegated the Pro-light to AC duty only and bought a smaller Frezzi Micro-Fill. It was much lighter than the Pro-light, but the throw pattern of my model was fixed on-spot. As the industry moved from 4:3 to widescreen, I found that the center-spot throw pattern was often missing my subject or leaving me stuck with center-framing my subjects. Ultimately it was the weight of the lead-acid battery that convinced me to move to a much lighter LED light as the waist belt-mounted, lead-acid battery was heavy enough to give me tummy aches.

LCD4Video provided me with two Fuzhou F&V Photographic Equipment Co. Ltd. models to review: the LED R-3 and the HDV-Z96. If you’re not familiar with F&V, it is an emerging Chinese manufacturer of photo and video equipment. Litepanels provided me with the Micro and MicroPro. Let’s see how these LEDs compare.

LED R-3
The LED R-3 model was the most similar in form to traditional on-camera lights in that it has a round lens and is longer than it is wide. What makes it different is that it is an LED model, and like all LEDs, it doesn’t produce heat and operates at a much cooler color temperature than the 3200K that incandescent bulbs produce. Featurewise, it has a pair of barndoors, a diffusion filter, and a warming filter that mount around a rotating lens ring. The orange warming filter changes the light output to match incandescent lights, which is useful when there are other light sources to contend with.

F&V LED R-3 from LCD4Video

The R-3 model I tested is powered by L Series Sony batteries, which is nice because I have several smaller batteries that came with my Sony video cameras that never get used since I equip them with larger batteries. The R-3 is also available in a Panasonic battery model. The light attaches to the video camera’s cold shoe with a fixed plate that can rotate. Unfortunately, the R-3 was the only model that did not tilt, which was limiting. At $120 it was the least expensive model in this roundup.

Litepanels
Litepanels has two similar models, the smaller Micro and the larger MicroPro. The Micro has 48 LED lights and is powered by four AA batteries, while the MicroPro has twice as many LEDs and requires six batteries. Both ship with a warming gel, a 1/4 warming gel, and a diffusion gel. As an alternative to AA batteries, both models can be configured with one of three DV battery plates that allow you to use a Sony, Canon, or Panasonic battery, or a 5-12 or 5-16 volt DC source using an optional AC power adapter. I did not review the optional power configurations.

On my Micro, the gels can be mounted on the front of the filter holder, which has three clips on the sides and bottoms and a small plastic strip on the top. Unfortunately, I found this very difficult to use because the top strip prevented me from sliding the small filter in place. I prefer to unclip the filter holder and mount the gels between the filter holder and the clear plastic lens. The Micro doesn’t have a filter holder in which to store filters when not in use, although the MicroPro has a rear storage clip. The Micro model I tested (below) was a 2009 model. The shoe mount tilts but does not rotate, although this model has since been reconfigured and now comes standard with a micro ball head shoe mount that allows both tilt and rotation. Unfortunately, this new ball head has a long arm clamp that doesn’t even clear the bottom of the light, so tightening the ball level is more difficult than it should be.

Litepanels Micro

I also understand that in newer models Litepanels has changed the gel mount to the same system found in the 2010 model of the MicroPro (below), which is a two side-clip system with notches to prevent vertical movement of the gel.

Litepanels MicroPro

Both LP models are dimmable from 0% to 100%. The Micro has a street price of $270, and the MicroPro’s street price is $400.

HDV-Z96
Our final LED light came from LCD4Video and is the F&V HDV-Z96 LED. Because it has a thicker bevel, it appears larger than the Micro, although it actually has the same lens size. Despite this, F&V packed in twice as many LEDs as the Micro. The Z96 is only dimmable from 25% to 100%, although the lowest part of the range is hardly useful anyway. I did find that although the light does not flicker under regular operation, it does flicker when you are adjusting the light output with the dimmer.

F&V HDV-Z96 from LCD4Video

For power, five AA batteries are required, or there is a built-in Sony L Series battery plate. Alternately the Z96 can be powered by a 5.8V–16.8V DC adapter.

One of the key differences between the Z96 and the Litepanels models is that, in the Z96, the thick plastic diffusion and warming filters connect with high-powered magnets. This is the fastest and easiest system to use as the filters seemingly jump in place with a confident snap.

The shoe mount is well-designed with an easy-to-grip knob (rather than an arm) that allows both tilting and rotation of the light. Although the Z96 comes in only one size, multiple lights can be connected together with the supplied multilink bracket. At the time of this writing, the Z96 was selling for $250 at LCD4Video.

Throw Pattern
One of the things I was looking for was the throw pattern from each of the lights. I wanted the light to be as even as possible from center to edge, while at the same time being sufficiently bright. I tested each of the lights against a plain wall in my darkened studio at a distance of 4' and 8'. At 4' the LED R-3 had a noticeable hot spot in the center, surrounded by a bright ring. I wasn’t too surprised by the circular throw pattern on the LED R-3, as the lens is round, but when I lit up the Micro and it also had a round throw pattern, I was a bit surprised. The Micro did have a hot center spot, but it wasn’t as dramatic a hot spot. Because the throw pattern is not wide, it was only able to light up about half of my widescreen frame. The larger MicroPro was able to light up the entire frame although it too suffered from a perfectly round hot spot in the center and the light fell off very sharply to the edge of the frame. Surprisingly, the least expensive of the rectangular LED models, the HDV-Z96, was the top performer for even light output. Rather than a hot center and a dramatic falloff, the HDV-Z96 had a relatively even center and a linear falloff at the top and sides. Overall, this pattern is the easiest to use when filming people, as they don’t disappear into the shadows when they step outside the hot center spot of the other models. The results of the 4' throw pattern test are shown below.

LED Throw Pattern 4' Test

I repeated this test at 8', and the LED R-3 benefited by the additional distance. Its hot spot was less intense and larger. Its light output levels were enough to bring the IRE past 100% in its center, which was brighter than the Litepanels models that came in at 90 and 70 IRE with my Sony HVR-Z7U at F1.6 with 0 gain. The Micro still had a bright center spot that was larger than at 4', although the light output was a lot lower and less dramatic than the MicroPro, which had a brighter center spot and dramatic falloff. The HDV-Z96 was again the top performer because it had a larger area in its middle section than the other models and a more gradual and linear falloff. So although it brought the wall to the same IRE level in its center as the MicroPro, it had a much larger and more pleasant hot spot. You can see a sample of the 8' test results below.

LED Throw Pattern 8' Test

Notes
I tested all the lights bare, without the gels and diffusion to show the throw pattern at its most dramatic. Using gels and/or diffusion will both soften the light and lower its output. I used to think that having a daylight-balanced light, such as an LED light, is a disadvantage as most indoor lighting is incandescent. However, in low-light situations, which is when you are most likely to be using an on-camera light, there isn’t as much ambient light that you need to match anyway. As long as you white balance to your light, it doesn’t matter much what color temperature your light is.

Having said this, don’t assume that all LED lights with and without their gels output the same color light. When I manually white balanced my Sony HVR-Z7U to the light from the Micro and MicroPro, they both came in at 5200K, which is slightly warmer than the 5600K that is considered daylight balanced. The HDV-Z96 produced a noticeably bluer light. My manual white balance came in at 6500K, which is more similar to an overcast day than clear skies. The LED R-3 was very similar at 6400K. With their respective warming filters, the Litepanels and MicroPro LED lights were still 300K–400K warmer than the 3200K of an incandescent bulb and the HDV-Z96 was 400K cooler than tungsten.

So how does the HDV-Z96 manage to produce a more even and brighter light than the larger MicroPro? Well, I’m still at a loss to explain why the Litepanels lights are producing a perfectly round throw pattern when they are rectangular in shape and 1.5 times wider than they are tall, but I’m sure it has something to do with the reflective backing on the HDV-Z96 model that acts as a reflector to both increase and diffuse the light. Whatever it is, it’s working—the HDV-Z96 costs less than the Litepanels models and outperforms them in design, features, and performance.

Shawn Lam (video at shawnlam.ca) runs Shawn Lam Video, a Vancouver video production studio. He specializes in stage event and corporate video production and has presented seminars at WEVA Expo 2005–9 and the Video 07. He won Creative Excellence Awards at WEVA 2010 and 2008 and an Emerald Artistic Achievement Award at Video 08.

Back to Contents...

Canon Filmmakers Live Announces 2011 Tour with Philip Bloom

Philip BloomCanon Filmmakers (http://canonfilmmakers.com) has announced plans to take its Canon Filmmakers Live show on the road in 2011 with headliner Philip Bloom, bringing the iconic DP/Director/Filmmaker to 12 U.S. cities in 30 days, beginning with Chicago's Viaduct Theatre on March 8.

The complete tour schedule is as follows:

  • Chicago, Viaduct Theatre, March 8
  • Washington, DC, Goethe Institute, March 10
  • Nashville, Dury's, March 13
  • Atlanta, Studio Movie Grill, March 16
  • Miami, Cinematheque, March 18
  • Dallas, Studio Movie Grill, March 21
  • Austin, Alamo Drafthouse, March 23
  • Albuquerque, Guild Cinema, March 25
  • Denver, Starz Filmcenter, March 27
  • Seattle, King Cat Theatre, March 31
  • San Francisco, Victoria Theatre, April 4
  • Los Angeles, Cinefamily

Each Canon Filmmakers Live event will feature a full-day seminar with Philip Bloom, followed by a meetup gathering for all attendees. Registration is open now with pricing at $150 for each event.

Canon Filmmakers Live Tour 2011

For more information, go to Canon Filmmakers Live.

Back to Contents...

Boris Continuum Complete Delivers 3D Titling to Sony Vegas Pro 10

Boris FX, the leading developer of integrated effects technology for video and film, today announced that Boris Continuum Complete v7.0.3 for Sony Vegas Pro is now available. The new Version 7.0.3 release features 3D Objects filters - BCC Extruded Text, BCC Type-On Text, BCC Layer Deformer, BCC Extruded EPS, and BCC Extruded Spline - delivering 3D extrusion capabilities to the Sony Vegas Pro 10 timeline.

What’s New in Boris Continuum Complete v7.0.3 for Sony Vegas Pro

  • BCC Extruded Text - OpenGL-accelerated 3D text generator with built-in 3D shatters and a warp deformer. Multiple 3D materials can be created from external image files featuring texture and bump maps as well as reflections. Each material can be individually saved as a preset and applied to the front, back, bevel, or extrusion surface of the text object. The text object can be further deformed and animated with a number of innovative deformers such as Bend, Taper, Twist, Shatter, Ripple, Pulse, or Curl.

  • BCC BCC Type-On Text - 3D extruded text can be animated in true 3D space in a type-on or type-off fashion with each letter precisely interacting with the rest of the text in 3D. All 3D properties of the BCC Extruded Text filter are available in the Type-On effect.

  • BCC Layer Deformer - warp any 2D layer in 3D space with built-in 3D shatters and bend deformers. Create 3D shapes such as fully or partially wrapped spheres and cylinders with multiple layers mapped onto the surfaces.

  • BCC Extruded EPS - provides an easy way to import and extrude Adobe Illustrator layered vector logos and graphics inside Sony Vegas Pro.

  • BCC Extruded Spline - based on built-in primitives such as a medallion or heart. Create 3D extruded objects fully-modeled with bevels and spline-based extrusion profiles.

  • BCC Optical Stabilizer - analyzes a shaky clip and adjusts the track's position to compensate. Unlike other stabilizing tools, BCC Optical Stabilizer does not require user-defined tracking points. This allows users to stabilize images where tracking data is unreliable. Users can also stabilize just a portion of a track to correct isolated camera bumps.

  • New Distortion and Perspective Filters include BCC 3D Image Shatter, BCC Cylinder, BCC DVE, BCC DVE Basic, BCC Page Turn, and BCC Sphere Transition.


BCC v7.0.3 for Vegas Pro is a free update for BCC v7.x for Vegas Pro users. The v7.0.3 update is available for download from the Boris FX web site at http://www.borisfx.com/.

Back to Contents...

Matrox Adds Exciting New Workflow Features to Matrox MXO2 Product Line

Matrox® Video Products Group today announced the immediate availability of release 2.1 software for the Matrox MXO2 family of I/O devices for Mac. Key features of this release include Adobe Creative Suite 5 Production Premium support and a powerful new stand-alone software application, Matrox Vetura Capture.

Matrox Vetura Capture lets users quickly and easily capture QuickTime files using popular codecs installed on their editing systems. Users of Adobe Premiere Pro CS5 can capture to the Matrox MPEG2 I-frame full raster (1920 x 1080) HD codec or to other popular Adobe-supported codecs. Users of Final Cut Pro can capture to ProRes and other popular Final Cut Pro codecs. Users of Avid Media Composer can capture directly to Avid DNxHD .mov files or other popular Avid-supported codecs.

“Media Composer users in network environments will appreciate how the Vetura Capture and Playback applications allow the use of Matrox MXO2 LE, MXO2 and MXO2 Rack on SDI ingest and playout stations,” said Wayne Andrews, Matrox product manager. Editors on the network can use Matrox MXO2 Mini devices for monitoring while editing, then put material back on the network to go out SDI from another Matrox-based ingest/playout station.”

“We are listening to our customers and continuing to add value to the Matrox MXO2 product line,” said Alberto Cieri, Matrox senior director of sales and marketing. “This release rounds out Matrox MXO2’s cross-platform support with complete I/O, fast H.264 encoding, and other important productivity benefits for users of the three most popular professional editing applications: Adobe Premiere Pro, Apple Final Cut Pro, and Avid Media Composer.”

Availability
Matrox products are available through a worldwide network of authorized dealers. Release 2.1 for Mac is now available to registered users of Matrox MXO2 devices and
Matrox CompressHD as a free download from the Matrox website.

Key Features of Matrox MXO2 Family for Mac
·        Convenient form factors for use in studio, on set, in the field, and in OB vans
·        Works with Intel-based MacBook Pros, Mac Pros, and Apple Xserve systems
·        Broadcast-quality HD/SD video and audio input/output
·        Flexible support for leading codecs, file formats, cameras, and workflows
·        Extensive application support including Final Cut Pro, Apple Color, Adobe After Effects and Premiere Pro, and many more
·        Support for popular 3D workflows
·        Cost-effective HD monitoring for Avid Media Composer 5 with Matrox MXO2 Mini
·        10-bit HDMI input, output, and monitoring with calibration controls
·        10-bit realtime hardware up/down/cross conversion on capture and output
·        Hardware acceleration of Final Cut Pro Dynamic RT segments, HDV, and DVCPRO HD
·        Matrox Vetura Capture – stand-alone application for quick and easy capture to a variety of QuickTime codecs
·        Matrox Vetura Playback – stand-alone application for convenient playback of H.264 and .mov files
·        Also available with Matrox MAX for faster than realtime H.264 encoding
 
About Matrox
Matrox Video Products Group is a technology and market leader in the field of HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, DVD/Blu-ray authoring, scan conversion, capture/playout servers, clip/still stores, and CGs. Matrox's Emmy award-winning technology powers a full range of content creation and delivery platforms used by broadcasters, post-production facilities, project studios, corporate communicators, and videographers worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information visit http://www.matrox.com/video.

Back to Contents...

CHV Releases The Enhanced Essentials Collection

CHV-electronics, software developer of plugins for Motion, Final Cut Pro and Final Cut Express since 2002 is proud to announce today the release of the brand new plugin package The Enhanced Essentials-collection for all versions of Final Cut Pro and Final Cut Express.

The Enhanced Essentials-collection contains 40 of Final Cut Pro's most valuable every-day video filter plugins that were completely redeveloped and greatly enhanced in quality, render speed and functionality.

The included 40 video filters duplicate video filters that are included in Final Cut Pro, only that the plugins of the Enhanced Essentials-collection perform much better in many ways:

  • Perfect borders: All plugins render perfectly antialiased borders.
  • Cut black borders: Black video borders can be easily cut off.
  • Better previews: More info is displayed in the canvas, like the curves for gamma manipulation.
  • More options: Additional options make the plugins more valuable.
  • Higher limits: More steps and a higher value range enable you to produce much better rendered results.
  • More points: The Enhanced Essentials-collection also includes a 12 pt and a 16 pt garbage matte.


The plugin package runs on all Intel and PowerPC Macintosh computers on OSX 104 (Tiger), OSX 10.5 (Leopard) and OSX 10.6 (Snow Leopard) that are qualified to run any version of Final Cut Pro or Final Cut Express.

All Fx-Script plugin packages from CHV-electronics are GPU-accelerated, using the full power of the installed graphics adapter for direct feedback and fast rendering.

Pricing: The Enhanced Essentials-collection V1.0 is priced at only $ 59.00
Updates: Free for existing customers of The Entire-Bundle.
A fully functional watermarked demo version is available for download on our website in the Download section.

http://www.chv-plugins.com

###

Back to Contents...

Skyworks Joins Footage.net

Footage.net, the stock, archival and news footage search engine, announced today that over 60,000 screening clips from UK-based Skyworks, an independent TV production company and world leader in aerial HD filming, are now available for viewing and download through Footage.net’s stock footage search platform.

Through this new alliance, Footage.net users will be able to view and download Skyworks’ digital stock footage screening clips, and Skyworks will reach a new and growing user base for its stock footage licensing business.

"As Skyworks' US archive has expanded very rapidly with the addition of over 200 hours of US footage alone, it seemed logical to partner with the most effective US portal for stock footage" said Colin Mills, Marketing Director, Skyworks.

"Skyworks is delighted to be joining Footage.net,” said Michael Lewis, Archive Manager, Skyworks. “With its collections now on-line and an ever expanding client base, Footage.net is a great means for media professionals to access the largest HD Aerials Archive in the world."

Skyworks has the world's largest collection of aerial HD stock footage, providing creative professionals with access to over 60,000 clips from the UK, Denmark, France, Italy, Portugal, Spain, Iceland, Germany, Ireland, Switzerland, Belgium, Luxemburg and the United States of America. Skyworks shoots in top-end High Definition, employing Sony’s HDCAM SR field recorder and the Cineflex aerial camera system to provide the ultimate aerial package of stability, portability and picture quality.

“Over the last year, we’ve really increased the volume of world-class contemporary stock footage that’s accessible through our site,” said Domenick Propati, President of Footage.net. “The Skyworks collection, with its deep cache of high-quality HD aerials of some of the worlds most beautiful cities and landscapes, is a fantastic addition to our footage search platform.”

At Footage.net, researchers can search over 30 footage databases simultaneously from a single site, compare results across multiple collections, find the best motion content and save time. With a growing collection of over one million online screening clips, millions of detailed text records and its newly released clip download functionality, Footage.net offers creative professionals the tools they need to discover and obtain the best motion content quickly and easily.

About Footage.net

Footage.net is the world’s premier online footage search engine. Since 1994, Footage.net has been the film & video production industry’s most comprehensive resource for serious stock footage research, providing access to over 6 million records and one million online screening clips. Powered by its new video-friendly architecture and improved search capabilities, Footage.net provides researchers with the tools they need to fully utilize its vast footage database, view images, manage results, communicate with Footage.net's content partners and download over 250,000 world-class stock footage clips from some of the world’s top footage companies.

About Skyworks

Skyworks specializes in aerial filming in High Definition, and is a world leader in the production & supply of top-end aerial footage with the world's largest HD aerials archive. By matching the latest technology with some of the most experienced aerial Directors/Cameramen, Skyworks is able to deliver some of the best quality Aerial HD footage available today. Skyworks is also a leading UK based independent production company that has produced well over 100 factual productions for international broadcasters including the BBC, ITV, Discovery and the Smithsonian Network. In the UK, Skyworks is best known for its ‘walking’ productions including Wainwright Walks, Norman Walks and Julia Bradbury’s Railway Walks for the BBC. The upcoming Iceland Walks series takes the format to exciting new frontiers. Skyworks has supplied its stunning aerial imagery to some of the very biggest productions including Simon Schama’s History of Britain, BBC2’s Restoration, History’s How the Earth was Made, and Pioneer’s The Volcano that stopped the World.

Back to Contents...