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How to Clean Up and Cover Messy Audio page 60

Camera MotionResearchRadian Pro

NikonD4S

Low BudgetHorror MoviesLighting Effects Editing Distribution

YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO

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VIDEOMAKER >>> OCTOBER 2014

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Features

Columns2

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48

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ReviewNikon D4s

Professiona

By Chris Mo

Audio-Tec

Cardiod Con

By Mark Ho

Camera M

Radian Pro

Unicast WirBy Chris Mo

Samsung 4k Capable

By Mark Ho

Sony Vega

Professiona

By Mark Ho

Aviator RoCamera Slid

By Paul Hild

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Next MonthWhy Your Tripod is your Most Important Purchase

Mirrorless & Single Lens Reflex Lens Shoot Off

What Lenses To UseThe Current State of Consumer Camcorders

On Sale September 23, 2014

Contents VoOCTOBE

ViewfinderManipulating EmotionBy Matthew York

Basic TrainingDeciphering Camera Tech SpecsBy Kyle Cassidy

DistributionLow-Budget Horror Movie Distribution

By Joshua A. Siegel

LightingHow to Light a Horror Scene

By Terry ORourke

EditingTiming is Key

By Chris Ace Gates

AudioHow to Clean Up and Cover Messy

Audio

By Chuck Peters

The Horrors of RotoscopingIn the world of video production, there are some horrify

things we face regularly. Rotoscoping has been long co

ered, a painful, but necessary evil.

By Russ Fairley

GoPros Reign: Can It Really Last?GoPro dominates the action cam market, but their dedi

to professionals is dubious at best.By Ty Audronis

Getting Started with ProstheticsThe techniques used to create Holl ywoods most iconic

effects arent beyond the reach of most who dabble in

visual entertainment.

by Peter Zunitch

How To Build A Blood-Sqirt DeviceThe practical effect of blood being sprayed used so

often in horror and can be done using a mechanism thatwill spray out liquid on command.

By Marshal M. Rosenthal

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On the Cover

Camera Motion Research Radian ProNikon D4S

2014 Zoom Corporationzoom-na.com

HEAR THIS

At 140 decibels the human ear is past the threshold of pain. Its like standing within 165 feet of a roaring jet engine.But the all-new H5 Handy Recordercan take it. More than any other field recorder, the H5

allows you to capture audio louder, cleaner and closer than ever before.

Were Zoom. And Were For Creators.

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Manipulating Emotion

Video is a highly effective means oftransmitting information. The trans-mission of content through the use ofmotion pictures and sound representsa transformational development inhow humans communicate. Even thesimplest production is a powerfulvehicle for capturing and presentingmessages to people in far off places;transporting the ideas of a presenterto a viewer who may never have theopportunity to meet the communica-tor face to face. This ability to transmitinformation via video as distancelearning can be leveraged for thegreater good of mankind. Think of allthe knowledge shared through videodistribution of TED Talks online.

Clearly, knowledge can be trans-mitted through the power of video.But theres far more to media thanmere messaging for the mind. Videoalso contains the unique and power-ful ability to influence the emotionsof the audience. Video can elicit very

strong emotional responses from theirviewers; causing people to laugh, cry orscream in fear. Interestingly, the powerof media to influence emotion typicallyhas little to do with dialogue. The waywe feel about what we watch is moreoften influenced by the way a sceneis lit; the way the shots are composed;the way the camera moves; and themusic and sound effects that accom-pany the scene.

The direction, height, intensity andquality of lighting that the produceruses has great influence over howa viewer will feel about a subject.Brightly lit scenes make the viewerfeel at ease, but scenes that are dimlylit with small pools of light and heavy,dark shadows make the viewer un-easy. The reality that the emotional re-sponse of the viewer can differ greatlyby moving a single light a few feet onedirection or the other is a fascinatingstudy in psychology.

The notion that we are afraid ofwhat we cannot see means that shot

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composition also plays an importantrole in manipulating the emotions ofan audience. Tight, tilted shots thatonly show part of an environmentmake the viewer unsure of whatmight be in the room with the hero orheroine. This is particularly true whenthe camera work is unstable and cam-era movement is erratic.

Audio plays a large role in influenc-ing the emotions of a viewer. The verysame sequence of a person walk-ing through an old house can feel

ordinary, humorous or frighteningdepending on the music and soundeffects that are used beneath it. Asuspenseful soundtrack plays withthe minds of viewers, causing themto watch in nervous anticipation of ascary encounter.

As a maker of media, you have theopportunity to create content that hasa powerful and lasting influence onyour audience, both intellectually andemotionally. By honing your skills inshooting, editing, audio and lighting,you can make videos that changeminds and effect hearts. Whether youchoose to make your viewers laugh,cry or scream is up to you.

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With Thunderbolt 2 performance, these hard drives have equally beautifulspecs designed to make 4K video editing and creative workflows run smoothly.

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Go MobileReading on the go? Find Videomakeron your iPhone and iPad along with apps

that help video producers on location. Go to www.videomaker.com/r/676.

SHOULD I USE A FIELDMONITOR?Question:

Dawodo: Im currently building a

computer which is primarily going to beused for video editing and a little bit of

image manipulation.

I do know that the CPU and RAM is

the most important part of such a build,

but Im wondering whether I should buy

a fast graphics card or not.

The information Ive gathered so far is

quite contradictory. Some recommend a

workstation card like a Nvidia Quadro or

at least a high-end gamers card. Some

claim that the integrated Intel HD graph-

ic adapters are better than dedicated

cards for the given tasks.

Which GPU would you recommend for

video editing software like Magix Pro

X6 or Sony Vegas Pro and why?

Answer:

Mcrockett: If you have the money to

spare, it is well worth it to go with a

Quadro. You can save a little money

by going with a high-end GeForce, but

you really are sacrificing performance.

Quadro cards are optimized for video

editing, image manipulation, animation,

etc. GeForce cards are built around giv-

ing you a high frame rate in games, but

at the sacrifice of accuracy in creation

applications.

See more at: www.videomaker.

com/r/017

Nikon D4s ReviewWe test the performance of the Nikon D4s.

Check out all the specs and see how it performs.

www.videomaker.com/r/015

October 2014

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Put Your Best Foot ForwardEntering the world of video

production is an exciting venture.

Knowing some of the fundamental

rules and techniques can help you

increase your production skills

while avoiding common pitfalls.

The editors at Videomakerhavecreated The Beginners Guide to

Professional Results, outlining the

things you need to know to get

presentable video right out of the

gate. Available in DVD and digital

downloadable formats. Watch the

preview video at:www.video-

maker.com/BestFoot

BlackMagic URSA Footage Makes a

Splah, Dazzles

After a rousing debut at NAB 2014 back in

April, Blackmagic Designs $6,000 power-

house, the URSA, is now giving filmmakers

some footage to analyze, examine, and if

Vimeo compression is ignored drool over.


Have a Video to Share?We want to see your work!

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2014 NewTek, Inc. All rights reserved. TriCaster and 3Play are trademarks of NewTek, Inc.

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highest model to the mighty 4.0GHz mark. Larger Retina mod-

els are now rocking Intels latest N-Series i7 processors.

The 13-inch MacBook Pro models also received some love.

In addition to the 200MHz speed bump, all new models start

out with 8GB of RAM minimum. This might have been a quiet

update, but it will be a welcome one to those unhappy with the

previous minimum of 4GB of RAM.

The performance tweaks, bumps and updates should help

keep editors and motion graphic designers cranking out the

videos long after t he release of Yosemite.

NEW GEAR

mocha Pro 4 and mocha Plus

Imagineer Systems, the Academy Award-winning devel-

oper behind mocha, has just shipped out mocha Pro v4

and mocha Plus. Mocha Pro 4 is the fourth generation ofthe industry standard planar tracking, roto, stabilization

and camera solving tool.

Beyond the amazing capabilities mocha Pro has

proven through use in films and television, mocha Pro

4 shoots for the next level with new features such as a

revamped interface, Python scripting support, customiz-

able keyboard shortcut interface and a stereoscopic 3D

workflow.

On the lighter side, mocha Plus is the heir apparent of

mocha AE; a version of mocha which shipped wit h Adobe

After Effects. Now available separately, mocha Plus ups

the ante with new features, including a 3D camera solver

and lens correction tools for After Effects.

Both versions are available now, and Imagineer Sys-

tems is offering 20 percent off all upgrades.

Imagineer usage is widespread, featuring prominently

in major feature films such as The Hobbit, Black

Swan, The Amazing Spider-Man, The Wolf of Wall

The Latest Updates in Sof tware and Mobile Workstations

Street and the Harry Potter series.

Imagineers current product lineup includes:

mocha Pro 4:Planar Tracking and visual effects utility with

advanced modules for: tracking, roto, 3D camera solve, object

removal, lens distortion, stabilization and more. Supports

industry standard VFX, editing and finishing software.

mocha Plus: Planar Tracking and roto mask utility supporting

Adobe After Effects & Premiere Pro, Apple Final Cut Pro & Mo-

tion, HitFilm and Boris FX.

mocha AE CC:Bundled free with Adobe After Eff ects Creative

Cloud. Planar Tracking and roto mask utility.

mocha HitFilm: Bundled free with HitFilm 2 Ultimate. Planar

Tracking based 3D Camera Solver.Imagineer Systems also licenses technology and software to

industry partners including Adobe, Quantel, FXHOME, CoreMelt,

Silhouette FX and MirriAd.

Apple MacBook Pro

In advance of the launch of OSX Yosemite this fall, Apple

rolled out a new lineup of MacBook Pros. Apples power-

ful laptop series saw minor refreshes across the b oard, but

ought to handle the new demands of the OS and upcoming

applications even better than the previous MacBooks.

The 15-inch MacBook Pro models saw a levelling of th e

playing field in the memory department, with all models now

coming equipped with 16GB of RA M, where previous entry

level models shipped with 8GB. Storage got a bump as well,

with a new option for 1TB of PCIe-based flash storage, much

like the storage Apples desktop superpower Mac Pro sports.

Also refreshed were the MacBook Pro's processors, with

all models receiving a 200MHz speed boost, pushing the

Blackmagic URSA is the worlds first high end digital film camera

designed to revolutionize workflow on set. Built to handle the

ergonomics of large film crews as well as single person use, URSA

has everything built in, including a massive 10 inch fold out on set

monitor, large user upgradeable Super 35 global shutter 4K image

sensor, 12G-SDI and internal dual RAW and ProRes recorders.

Super 35 Size Sensor

URSA is a true professional digital film camera with a

4K sensor, global shutter and an incredible 12 stops

of dynamic range. The wide dynamic range blows

away regular video cameras or even high end broadcast cameras,

so you get dramatically better images that look like true digital film.

The extra large Super 35 size allows for creative shallow depth of field

shooting plus RAW and ProRes means you get incredible quality!

Dual Recorders

Blackmagic URSA features dual recorders so you

never need to stop recording to change media.

Thats critical if you are shooting an historical event,

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load an empty CFast card into the second recorder and when the

current card is full, the recording will continue onto the second card,

allowing you to change out the full card and keep shooting!

Introducing Blackmagic URSA, the worlds firuser upgradeable 4K digital film camera!

User Upgradeable Sensor

Blackmagic URSA features a modular camera tur

be removed by unscrewing 4 simple bolts! The c

includes the sensor, lens mount and lens control

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This means your next camera will be a fraction of the cost of buy

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Say goodbye to bulky on set monitors

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biggest viewfinder! The screen is super bright and features an u

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BlackmagBlackmagic URSA EF

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Lensesandaccessoriesshown arenotincluded

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SUMMARY

With 11fps still shooting and full1080 60p video with super-fast AF,this baby is your ticket to fast, pro-fessional performance.

Chris Monlux is the Creative Services Manager at alocal CBS, NBC and CW affiliate station.



tracting, depending on what and whereyou are shooting.

Next, we moved on to the video sideof the camera. We were quite excited tosee that Nikon added the 60p option in1080. Most DSLRs out there only shoot60p in 720, causing one to need to edittheir project in 720 if they requiredslow-mo, or want a real life feel. Forsmooth slow-mo, shooting 60p worksgreat. Just forcing the frame rate to 24pfrom 60p makes for great slow-mo at 40percent speed.

We then tested the monitor, mountedflush on the back of the camera. Turn-ing on the monitor is simple. Nikon calls

it Live View. Press one simple buttonand youre monitoring with the screen.Using the menu isn't difficult as well,if you want to Change the frame rate,its easy to find and maneuver. Testingin all five 1080 frame rate options, wefound that the dynamic range of the fullsensor was nice. When shooting bothvery bright and dark areas in the sameframe, exposing so you can see each,the bright wasnt too bright and the darkwasnt too dark.

Using a tripod, we mounted thecamera to the plate of a Sachtler FSB6 head. We noticed right away, that ifusing the camera for video, that someof the design for photography wouldbecome more cumbersome. If shoot-ing pictures in portrait, the plate is inthe middle of the grip. But thats whathappens when you shoot video on aphoto camera, or photos on a videocamera. Next, we shot handheld, ex-periencing the balance of the camera.When shooting handheld the balanceisnt the best. However, most DSLRsare not balanced like a video cam-

era and are less than desirable whenshooting handheld.

Because the AF is so fast, we didntnotice that the focal point was changingwhen shooting video. When shootingpictures, this was wonderful, however

when shooting video it just changed sorapidly, that it didnt feel right. Howeverits easy enough to overcome, just turn-ing the AF off solves the issue.

To test the different frame rate op-tions, we shot a foosball table, spinningthe little men around, dollying past andtesting slow-mo. There weren't any

surprises the video came out justas expected. The dynamic range wasgreat, and the picture was clear. Weslowed down 60p and 50p to test howthey looked when converted to 24p forslow-mo. If the movement was too fast,we got rolling shutter (as expected),otherwise it performed great.

The VerdictOver all, the D4S performed wonderful-ly. If youre thinking about buying thiscamera, we only have a couple reserva-tions. First,, the controls could use somemore intuitive design, however sometime with the camera would solve that.Second, because of its cost, and beingNikons flagship, we would hope thatthere would be a 120p frame rate op-tion, and there isnt.

Take a look for yourself at the testpictures and video. There isnt anylet down with the end product. Thevideo and pictures look great. As onewould expect from Nikons flagshipmodel, it performed wonderfully.However, would this reviewer buyone? Probably not, but that is onlybased on the feel and non-intuitivebutton design. If you get a chance toget your hands on one, pick it up, geta feel for the buttons and layout, anddecide for yourself.

NikonD4S

REVIEWS

CompactFlash and XQD ports

TECH SPECS

Sensor Size/Type:CMOS,

36.0x23.9mm

Effective Megapixels:16.2MP;

4928x3280

Video Format:MOV

Resolution/Frame Rate:1920x1080(60fps, 50fps, 30fps, 25fps, 24fps);

1280x720 (60fps, 50fps); 640x424

(30fps, 25fps)

Recording Media:CompactFlash, XQD

Display Size/Resolution:3.2" LCD

(921,000 dot)

Lens Mount:Nikon F

Included Lens:Body only (for review

24-70 f2.8)

Audio In:Built-in Mic: With Video +

Voice Memo, Mono

Audio Out: 1/8"

Video Out:HDMIOther Interface:LAN, USB 2.0, remote

Shutter Range:30-1/8000 sec, Bulb

ISO Range:100-25600 (Extended

Mode:50-409600)

Battery:EN-EL18a Rechargeable

Lithium-Ion Battery Pack, 10.8VDC,

2500mAh

Sound FocuHi-def digital video

deserves hi-def digital audio.

Put the professional stamp on your video projects with Audio -Technicas new simple-to-use System 10 COperating in the 2.4 GHz range far from TV interference, this digital wireless system features advanced 2

and three levels of diversity assurance to deliver the amazingly clear, natural audio your digital images d

Wherever your audio or video takes you, listen for more.

SYSTEM CAMERA-MOUNT

DIGITAL 2.4 GHz HIGH-FIDELITY WIRELESS

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REVIEWS

b y Ma rk Ho ld e r

$279

Edit Bay Audio

Audio-TechnicaAT2020USB+Cardioid CondenserUSB Mic

Audio-Technica U.S., Inc.www.audio-technica.com

STRENGTHS

Captures excellent audio

Great build quality

Zero latency monitoring

No/low hiss

Ease of setup and use

WEAKNESSES

Pricier than many other USB mics

The traditional method of gettingaudio into an editor connectinga microphone and recording to a cam-era or digital audio recorder, then cap-turing the recording to the computer is a tried-and-true method thatworks every time. Sometimes though

its more convenient and time efficientto record right into the edit. If youredoing voice-over work, podcasting,laying vocals over a music track orany number of other tasks requiringaudio only, then a USB mic such asthe Audio-Technica AT2020USB+ maybe the right solution for you.

Stuff It Comes WithThe AT2020USB+ is pretty straightfor-ward and comes complete with a pivotmount, tripod desk stand, 10-foot USBcable and zippered pouch. A down-loadable PDF of the instruction manualmay be found online.

Stuff About ItThe build quality is excellent. Themic capsule element is fully en-closed in a sturdy wire mesh whichis, in turn, protected by a rigid metalframework. Assembly is easy; simplythread the pivot mount onto thedesk stand and spread the rubbertipped tripod legs apart to provide asturdy base. Slide the mics threadedbase into the threaded collar on thepivot mount and tighten the collarwhile holding the microphone in thedesired position. A thumbscrew onthe pivot mount may be loosenedand retightened to adjust the angle.Plug one end of the USB cable intothe mics base and the other intoyour computer.

Position the mic so its front isfacing the audio source. The back isalso where you will find the head-phone jack. Beneath the label onthe front you'll find two dials. One islabeled monitor, and can be dialed

left for MIC and right for COM. Thisis the mix control, used to monitorexisting audio on your computerwhile recording new material. Dial-ing towards COM adds more of theexisting audio to the headphone mix,while dialing towards MIC favorsnew audio. If you cant hear yourselfthrough the mic, the dial is probablyset all the way to COM. The other dial

Mix control


TECH SPECS

Element: Fixed-charge back plate,

permanently polarized condenser

Polar Pattern: Cardioid

Frequency Response: 20-20,000HzPower:USB Power (5V DC)

Bit Depth:16-bit

Sample Rate:44.1/48kHz

Volume Control:Mix control; head-

phone volume control

Output Connector: USB-type

Headphone Output Power:130mW

Headphone Jack:1/8" (3.5mm) TRS,

stereo

SUMMARY

The AT2020USB+ Cadenser USB microphoa convenient way to audio directly into yorecording software.

Contributing Editor Mark Holdertrainer.

For comments, email: editor@vide


enable button. We fatrack at first and expecho during recordin

To record, place thethe desired location oand click the red reco

lower left corner of thpanel. Click the Play bthe spacebar, to start ing. Be sure to un-muduring playback or yoyoure not hearing anWrite from the drop dpreparing to record aautomatically changetime you stop recordi

Hiss from this mic iexistent. Its cardioid pcaptures sound most from directly in frontoff-axis rejection, parthe rear. Zero latencymonitoring is a great headphones plugged the mic you can mon

recorded material whnew audio with no lagsoever. 16 bit 44.1/48assures crisp, bright, reproduction. Overallimpressed with the qumicrophone.

Those with a needtor audio recording wwith this mic. While tUSB mics available, thAT2020USB+ cardioiis unquestionable.

Audio-Technica

select the AT2020USB+ as the defaultaudio device. A detailed description ofthe process is laid out in the down-loadable instruction manual.

Stuff It DoesWe attached the mic to a PC withWindows 8 and opened up AdobePremiere Pro to lay down a voiceovertrack. If you dont already have an au-dio recording program here is a quotefrom the AT2020USB+ instructionmanual, Many recording softwareprograms are available online. Audac-ity is widely used free software forrecording and editing sounds. It isavailable online at audacity.source-forge.net.

In Premiere Pros audio hard-ware settings we made sure theAT2020USB+ was set as both theinput and output device (micro-phone and headphones). In PremierePros Audio Mixer, drill down intothe track label and select Write.

Enable the track for recording byclicking the mic icon. Another dropdown list appears directly above thisicon, check it to be sure the correctmicrophone is selected. Next, clickmute (speaker icon) to the left of the

on the front is the headphone levelcontrol and should not be confusedwith any recording levels. The micvolume is adjustable through yourcomputers sound preferences set-

tings or your recording software.Computer setup is fairly simple.When you plug the USB cable intoboth the mic and the computer, a blueLED lights up on the mic to show thatit has power. The computer auto-matically recognizes the device andinstalls the appropriate driver. Next,you'll likely need to go to your Soundsettings through System Preferences(Mac) or Control Panel (Windows) and

Accessories Furnished:Pivoting

stand mount for 5/8"-27 threaded

stands; 5/8"-27 to 3/8"-16 threaded

adapter; soft protective pouch; tripoddesk stand; 10 (3.1m) USB cable

System Requirements:USB 1.0 or

2.0; 64MB RAM minimum; Macintosh:

MAC OS X; Windows: XP/Vista/Win-

dows 7

Dimensions (Lx[diameter]):6.4" x

2.0" (16.3cm x 5.1cm)

Weight:13.6 oz (385.6g)

Monitor volume dial

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REVIEWS

by Ch r i s Mon l ux

$849

Dont tripits wireless!

CameraMotionResearchRadianPro

Camera Motion Research

CamotionLLC.com

STRENGTHS

Rugged build quality

Great for indoor or outdoor use

Simple set up and breakdown

WEAKNESSES

Lots of parts to misplace

The logistics of setting up a shootcan be painful at times; its nevereasy and is the less creative part tomaking video. Its no easy task tomake sure all players involved are onpoint, content is created and all-need-ed equipment is fully functional andworking properly. Laying cables formonitoring is a thing of the past withthe Radian Pro wireless HD transmit-ter system. Set up a monitor for thecamera operator, one for the DP andone for the director, and youll create

a tripping hazard. Shoot in multiplelocations, and forget it, youll be lay-ing cable all day! But with this systemfrom Camera Motion Research, settingup multiple monitor stations, movingto multiple locations and fitting in thesmallest set is simple.

Tools for TestingFor this review, the Radian Pro wire-less HD transmitter system will beused with a Canon EOS 7D DSLR andMustHD field monitor. In the field, thecamera was mounted on a Glidecam6-foot jib with a Glidecam VistaHeadII pan tilt head. For our dolly shots weused a Hollywood MICRODOLLY with12 feet of track.

Out of the BoxRight out of the package, the systemwas an ease to set up with very intui-tive cabling, making it a 10-minute

job the first time, and minutes to setup after that. The camera goes to thetransmitter with a HDMI cable, and thesame goes for the receiver. They are

both powered with batteries, hookedup with USB cables.

You can use the small batterypacks for power, or you can plug thereceiver directly into the wall. Theycan transmit to multiple monitor sta-

tions. The flexibility of the system isgreat. The transmitter and receiver areeasily mounted to your camera via theshoe or to a monitor with their moni-tor yoke. The yoke is rugged and ismade of steel. There is a clip to simplyattach the battery packs and go. This

needs a USB cable to go between thebatteries and transmitter/receiver.

Pro? Ill show you pro!Many products get pro added in theirname to draw more money for their

Transmitter and battery

Monitorandcameranotincluded.

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Resolution:1920x1080

Input/Output:HDMI

Range:300ft+

Transmission:MIMO, OFDM

Encryption:AES 128-bit

Latency:2ms.

Dimensions: RX: 3.9" x 2.2" x .9"

(9.9cm x 5.6cm x 2.3cm) TX: 3.7" x 1.2"

x .6" (9.4cm x 3.1cm x 1.5cm)

Weight:RX: 2.7oz. (76.5g) TX: 1.3oz.

(36.9g)

SUMMARY

With the Radian Pro wireless HDtransmitter system, tripping overmonitoring cables is a thing of thepast.

Chris Monlux is the Creative Services Manager at alocal CBS, NBC and CW affiliate station.

For comments, email: [email protected], usearticle #17107 in the subject line.

expanded to multiple transmitters andreceivers and can be truly wirelesswith its on-mount batteries.

Whats my grade, professor?The Radian Pro system does have adrawback: many small cables to lose,but that's not enough to tarnish ourhigh opinion of it. Whether you're onlocation, on set or need to keep the trip-ping hazards to a minimum, the RadianPro wireless HD transmitter system isa good deal and a nice addition to ashooters toolbox. Go get your hands onthis system, touch it and experience it.Dont trip man, its wireless.

without distraction. The same can besaid about working with producers;if they have a particular goal for eachshot, they will surely see how to help.Its also helpful to have another set ofeyes helping point out better expo-

sure options or points of focus.The Radian Pro didnt add too

much weight when it was mountedon a camera with the jib, and it keptwiring to a minimum. The nice thingabout using this system on the 7D isthat the exposure information trans-mits just as well. It makes choices onexposure, focal point and composi-tion, the same as using the viewfinderon the camera. The color is great, andoffers no loss of signal. As long as wewere plugged in, it was transmitting aclear HD signal.

ValueWhen youre purchasing a wirelessHD transmitter system, there are afew options out there. The Radian Proisnt the cheapest but it offers great

value. Small, lightweight and a trans-mitting distance of 300 feet cant beundone by its larger price tag. How-ever, its still not expensive either, asother systems can be more than fourtimes the price. Transmitting HDMIinstead of HD-SDI keeps the pricelower, but not as low as some systems.The cheaper systems dont have therange of the Radian, and they dont

offer FCC cleared channels for great-est distance and clarity.

After a good spin around the block,this small, simple and robust systemrates high our my book. It's a greatsolution for most every need. It can be

manufacturers. In this case though,it holds to the standards a pro wouldneed. The transmitting frequencies arefully cleared with the Federal Com-munications Commission and scan touse the best channel, so youre surenot to have any unwanted interference.It offers a less than 2ms latency andtransmits HDMI as usual. Its video reso-lution transition is up to 1920x108060p, uncompressed. It can operate intemperatures from 32-122 degreesfahrenheit.

The build quality of the RadianPRO is top notch. Its rugged, smalland works like a champ. The transmit-ter goes to 300 feet line of sight, andfor this review, was tested indoorsand outdoors. Although there wasnt aneed to be 300 feet away, it did workwonderfully. It was used within abuilding with thick walls and showedno issue. There wasnt any noise out-side, where interference can rear itsugly head.

A lot of shoots consist of shootingfor a client such as making com-mercials for business owners so

keeping them happy is always the firstgoal, which is easy with the RadianPRO. Using this system saves the timeof reviewing the shots with clients, be-cause they can observe from afar andit will allow you to continue to shoot

Receiver and battery

THE RADIAN PRO ISN'T THE

CHEAPEST, BUT IT OFFERS

GREAT VALUE.

Camera Motion ResearchRadian Pro

REVIEWS

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REVIEWS

b y Ma rk Ho ld e r

Price varies depending on service pro-vider contract.

$650 with no contract

Pocket 4K

SamsungGalaxy S5Smartphone

Samsung Electronics Co., Ltd.www.samsung.com

STRENGTHS

Beautiful display

High-quality camera

Great battery life

WEAKNESSES

USB cover attachment point a bit flimsy

Selective Focus can take many tries

before detecting the subject

Living in a multi-connected, multi-media world, we are surroundedby a plethora of devices designed toenable our artistic expressions andfacilitate our need for zero time lagcommunications. Probably no singledevice sees more use in this worldthan the ubiquitous smartphone.Whether calling, texting, surfing, gam-ing, navigating or shooting, smart-phones do it all in stride.

And while you may have a perfectlygood, high-end prosumer cameratucked safely away in its bag in the

trunk of your car, it may not be theright tool for the job. Sometimes theright tool is the one you have in-handat the time of need, and if you hold-out for your prosumer camera, youmay miss an opportunity. Can the Gal-axy S5 serve as that right tool? Canit deliver the photo and video goodswhen called upon to do so?

The BasicsAt 5.1 inches, the S5s display is slight-ly larger than its predecessor. Sportinga screen resolution of 1080x1920 and432 pixels per inch, the Super AMO-LED touchscreen display delivers bril-liant color and sharpness. Comparedto others weve seen its surely one ofthe best currently available.

Of particular interest is the excep-tional battery life. Equipped with a2800 mAh removable battery the S5can record or play several hours ofvideo between charges and will easilyrun all day under normal use.

Another distinctive feature is itsIP67 certification. This means it is

certified to be water resistant to adepth of approximately three feet forup to 30 minutes, and it is dust proof.If youve ever dropped your phone inthe toilet, hot tub or cats water bowl,you will surely appreciate this fea-

ture. We tested it by submerging theS5 underwater while recording video.It never missed a beat. Other than theexpected muffling of the audio, theS5 continued to record underwaterand functioned normally in every re-spect after we brought it up and driedit off. To ensure the integrity of theseal, the USB 3.0 charging port usesa gasket equipped cover. The cover iseffective at keeping out the elements,but it can be a little tricky gettingopen and its attachment point feelsa bit iffy, so care should be taken notto break it off. USB 3.0 enables fastercharging using the included cable,which has sort of an oversized doublepronged connector look to it. A stan-dard USB phone charging cable canalso be used, though charging willtake a little longer.

The CameraSamsung introduces its new ISOCELLimage sensor technology in the S5 inorder to address challenges commonto small sensor, small pixel cameras

like the those found in smartphones.The unique design is said to reduceelectrical crosstalk between pixels, re-sulting in sharper images and greatercolor accuracy. From our viewpoint, itseems to work just fine.


TECH SPECS

OS:Android 4.4 KitKat

CPU:2.5GHz Quad-Core

Display:5.1 inch, Super AMOLED

touchscreen; 1080 x 1920 pixels

Front Camera:CMOS, 2MP

Rear Camera:CMOS, 16MP

Recording Resolution:(4:3) 640 x480 (VGA); (16:9) 1280 x 720 (HD),

1920 x 1080 (Full HD), 3840 x 2160

(UHD 4K); at 30fps

Video Playing Format:FLV, M4V,

MKV, WEBM, WMV, 3 G2, 3GP, ASF, AVI

Audio Playing Format:3GA, AWB,

FLAC, MID, MXMF, OGA, OTA, RTX,

RTTTL, XMF, AAC, AMR, IMY, M4A, MIDI,

MP3, OGG, WAV, WMA

Internal Memory:2GB RAM, 16GB

ROM

External Memory:up to 128GB

microSD card (optional)

Battery: 2800 mAh; removable

Connectivity:Wi-Fi (802.11 a/b/g/n/ac 2.4G+5GHz); USB 3.0; Bluetooth 4.0

Sensors:Gesture, Fingerprint, HR, Hall,

Accelerometer, Geomagnetic, Gyro,

Light, Barometer, Proximity

Weight: 5.11 ounces

Dimensions:5.59" x 2.85" x 0.31"

SUMMARY

In a world filled withsmartphones, the Gamore usable feature

Contributing Editor Mark Holdetrainer.

For comments, email: editor@vide


range; textures and ficaptured with great cshutter issues appeanon-existent and lowresults are pretty impvery little grain, evensituations. If youre ato record your swingtion for later analysi

covered with three shalf speed, quarter sspeed. In each case mand fluid although thbe a slight increase ilower light scenarioscan also shoot in fastfour and even eight tspeed. Again, motionfluid but without anydation in quality.

A couple of nifty feLive HDR (High Dynaand Selective Focus. is a measurement of tbetween the brightesimage as compared toHDR mode captures exposures then blendto give you the most image possible at lposed to. Thanks to tSnapdragon 801 procallows you to see theplay BEFORE commi

ConclusionWe really do live in apetitive world of smand video content crdevice you reach forhappens to be the SS5, we predict that ydisappointed.

Sams

and spot Metering Modes, an Expo-sure Value slider and White Balanceoptions of Auto, Daylight, Cloudy, In-candescent and Fluorescent. A handy,customizable sidebar allows you toadd up to three of your most usedfunctions for quick access withouthaving to go into Settings each time.

Still pictures may be snapped at res-

olutions up to 16MP with stunning re-sults. Colors pop, contrast is high andedges are crisp. Photo editing optionsare available, such as the ability to ro-tate, crop or resize; adjust contrast andsaturation, alter individual red, greenor blue channel levels, apply effectslike sepia, vignette or light flares. Youcan remove red eye, brighten the faceand even add stickers or text. Videoediting, however, is limited to a simpletrimming function.

Video resolution options rangefrom VGA (640 x 480) through HDand Full HD, up to Ultra HD (4K) at3840x2160! Shooting in 4K is a greatidea and produces fabulous results. Inreality though, it isnt terribly practi-cal due to the five minute shootingmaximum, resulting in a clip thatconsumes 1.68GB of space. Ourphone came with the currently avail-able 16GB of internal memory (32 GBavailable at a future date). A sizeableportion of this was already taken upby the operating system and appsleaving 10.5GB of free storage. A littlemath reveals that this only leavesroom for approximately six of thesefive minute clips. With well plannedshots and frequent offloads one couldshoot a commercial or short filmin 4K but forget about weddings orother events requiring longer shots.In 1080p shot lengths extend to justover thirty three minutes at 3.99GBper clip. Fortunately, the S5 featuresa microSD slot stacked over the SIMport under the rear cover for up to

128GB of additional storage space,although the five minute 4K limit willstill be problematic in many shootingsituations.

In all cases, colors are beauti-fully reproduced with good dynamic

Once in the camera app, the Modebutton offers up several shootingmode options such as Panorama,Virtual Tour and Dual Camera, withthe ability to download more fromSamsung Updates. A host of effectsare also available such as Vignette,Sepia and Fisheye with the optionto download more.

For a more control, click the Set-tings (gear) icon to pull up a neatlyarranged grid of options. Here you'llfind manual controls such as ISO,with setting options of Auto, 100, 200,400 and 800; center-weighted, matrix

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Pro Appeal

SonyVegas Pro 13ProfessionalEditingSoftware

Sony Creative Software, Inc.www.sonycreativesoftware.com

STRENGTHS

Professional features Collaborative app

Useful plugins

WEAKNESSES

Few enhancements over version 12.

Awide array of video editingsoftware programs dot the post-production landscape these days.They may be simple, inexpensiveprograms that allow you to toss ina few assets, shake vigorously andhopefully give you results yourehappy with. Or they may be very so-phisticated and powerful with steeplearning curves and a price tag tomatch. One thing Sony Creative Soft-

ware has managed to do quite wellwith their Vegas Pro editor is balancea powerful feature set with a begin-ner-friendly interface and workflow,and a wallet-friendly price.

The BasicsSony Vegas Pro 13 is a timeline-basededitor that is fairly easy to learn a nduse. If you are already familiar withversion 12 you will find that littlehas changed, except for the additionof a few new pro features, whichwell cover later. Some of the func-tions formerly located on an uppertoolbar have been moved beneaththe Timeline, bringing oft used toolsa little closer to the action. Five newedit tools are accessible from thisnew toolbar: Shuffle, Slip, Slide,Time Stretch/Compress and SplitTrim. These functions were previ-ously available via the keyboard butmay now be accessed using click-able icons. A few improvements havealso been made to project archivingwherein all the media files related to

a project are saved into one location,included nested timelines.

Pro StuffThe real differences lie in the profes-sional features that have been added

to this new version. Remember thegood ol days of having to jockeythe volume buttons on the remotecontrol because the commercialswould come on and blast you out ofthe room? Well, when an overly loudcommercial interrupted a certaincongresswomans family dinnera few years back, the result was abroadly accepted piece of legislationthat became known as the Commer-cial Advertisement Loudness Mitiga-tion (CALM) Act. Television broad-casters are now required to meetcertain specific audio guidelines intheir broadcasting or face penalties.To facilitate compliance with theCALM Act Vegas Pro 13 has intro-duced Loudness Meters. LoudnessMeters will be a valuable addition

Vegas Pro 13 (tested):Purchase $599.95; Upgrade $249.95

Vegas Pro 13 Edit:

Purchase $399.95; Upgrade $199.95

Vegas Pro 13 Suite:Purchase $799.95; Upgrade $449.95

Trial versions available

Audio levels


TECH SPECS

Operating System:Windows 7, 8 or

8.1 (64-bit)

Minimum CPU:2GHz (multicore or

multiprocessor CPU recommended for

HD or stereoscopic 3D; 8 cores recom-

mended for 4K)

Minimum RAM:4GB (8GB recom-

mended; 16GB recommended for 4K)

Minimum Hard Drive:1GB required

for program installation

Graphics Card:GPU-acceleration

requires OpenCL supported NVIDIA,

AMD/ATI or Intel GPU with 512MB mem-

ory; 1GB for 4K

SUMMARY

Boasting several new professional-level features and a trio of new plug-ins, Vegas Pro 13 has a lot to offer.

Vegas Pr o 12 use rs, howev er, maynot find enough new features to jus-tify an upgrade.

Contributing Editor Mark Holder is a v ideo producer andtrainer.



SonyVegas Pro 13

REVIEWS

they can then comment on in thesame way, then later sync their proxyversions back to the master project. Tomore easily facilitate the process theapp also turns the iPad into a gesture-activated control pad.

Finally, Vegas Pro 13 includesseven really cool Hitfilm effects fromFXHOME such as Bleach Bypass, LightFlares, TV Damage, Witness Protec-tion, and a bunch of goodies fromNew Blue Fx including Chroma KeyPro, Garbage Matte, Picture in Shapeand Saturation EQ. It a lso includesiZotope Nectar Elements; a masteringtool for your audio crammed full ofpresets for sweetening and creatingspecial effects.

The VerdictSony Vegas Pro 13 is a powerful,affordable editing program. If youdont already have an editor or arecurrently using a less sophisticatedprogram and would like to up yourgame, you can download the trialand take it for a spin. If youre anon-professional user and are al-ready using Vegas Pro 12, then youmay want to wait for the next updateto come around. Except for the newpro features in version 13, not a lothas changed. If, on the other handyou are a professional user thencheck out the pro features and seewhat you think.

for those working in the broadcastmarket. The average levels of youraudio are measured according to thelegislated standard so you can easilyconform it to the allowed range ofloudness units prior to broadcast,saving the broadcaster from costlyfines and yourself from an embar-rassing re-do.

Also great for the broadcast mar-ket, Vegas 13s Proxy-First workflowcan offer some real time saving b en-efits. If youre shooting with the rightcamera (XDCAM footage), and havea Sony Wireless Adapter, you canrecord hi-res files to the in-cameramedia then wirelessly send lo-resproxies back to your editor, who candownload and edit them, while youhightail it back to the station. Whenyou get there, the edited proxy ver-sion can be re-linked to the hi-resfiles and rendered out just in time forthe evening news.

Vegas Pro Connect is an app thatallows multiple iPad users to collabo-rate with one another as they review aproject, placing notes and markers di-rectly into the timeline. Offline modelets them download proxies which

CAN YOU

COUNTERFEIT

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REVIEWS

b y Pa u l H i l d e b r a n d t

$479

Innovative & PortableCamera Slider

AviatorRocketTravel Slider

Aviator Camera Gear

www.aviatorcameragear.com

STRENGTHS

Highly adaptable with affordable

conduit pipe

Portable

High-quality construction

WEAKNESSES

Must have two tripods or light stands

to mount off ground

Unstable center of gravity for top mount

The Aviator Rocket Travel Slideris an innovative camera supportsystem which was created through aKickstarter campaign in May 2013,as one of many projects created byusers for users, we were anxious totry it out.

With the base kit you receive theRocket slider carriage, two ends withfold out feet, a carry bag, and a selec-tion of hardware. You can also opt topurchase the Aviator Hi-Hat, for easyuse with a ball mount tripod head.Now you might be wondering whyit doesnt come with any rails; thats

actually one of the best features aboutthis kit and well get to that later.

At first impression its easy to feel thehigh quality of the kit. The includedcase is semi-hard, custom molded to fitthe Aviator Slider, and works well whentransporting the slider. The slider andhardware are constructed of a mixtureof different high grade plastics andmetal which contribute to the smoothoperation of this unit, the metal is alsoanodized in a beautiful red finish. Itseasy to assemble and requires no ad-ditional tools other than the includedallen wrenches which are used forfinite adjustment of the wheels.

The centerpiece of the kit is thecentral carriage unit, which you attacha flat base tripod to, or use the Avia-tor Hi-Hat. A rubber ring is attachedaround the tripod screw to ensure atight fit between your camera and thecarriage. This unit also has a ball levelso you can achieve proper orienta-tion for your camera. The carriagehas four custom made wheels whichroll smoothly and are grooved to fit

1-inch EMT conduit pipe. The carriageis made of aluminum and has sixthreaded accessory mounts for attach-ing additional hardware.

So how about those rails? The AviatorTravel Slider is designed as a modular

system, which means you can eitherpurchase the Aviator Carbon TravelTracks, or you can purchase up to 10feet of 1-inch metal EMT conduit pipefrom your local hardware store. Thismodular design allows you to changethe length of your slider very afford-ably. It also means you can pack upyour slider in the compact case, takeit on the plane with you and thenpurchase low-cost EMT pipe at your

Rocket Slider with 5' pipe

Rails not included


TECH SPECS

Material:Anodized metal & plastic

Load Capacity:45lb. (20.4kg)

Attachment:3/8"-16 and 1/4"-20

mounts

Case Size:16" x 9.5" x 2.5" (40.6cm

x 24.1cm x 6.4cm)

Levelling Bubble:Yes

SUMMARY

The Aviator Rocket Slider is a high-quality, professional and innovativecamera slider system that allows youto use various lengths of availableconduit pipe to change the length of

your slider rails and remain mobile.

Paul Hildebrandt is a documentary, wedding, and narra-

tive filmmaker from Chico, CA.



AviatorRocket Travel Slider

REVIEWS

facing the floor, this way the cameraand tripod go through the rails, allow-ing the weight of the camera to hold thecarriage onto the rails. This producedeven better results and allows cameramoves typically not seen with tradi-tional sliders and dolly systems. Notethat in order to achieve this you musthave each end of the slider attached to atripod or light stand, and that this slidercannot be mounted on a single tripod.Even with this limitation, the RocketTravel Slider gives you the functionalityof a traditional dolly plus the compactsize of a smaller camera slider.

If your subject is lying on the ground,the Rocket Travel Slider is a perfect solu-tion for shooting overhead and is greatfor shooting products. The extendedlength would produce impressive resultsif combined with a motor assembly fortime-lapses.

Overall, the Aviator Rocket TravelSlider is well-built and can serve anumber of various needs at your nextfilm shoot.

final destination, making this far morecompact than traditional sliders for airtravel situations in which you dontwant to check a lot of extra baggage.PVC pipe would technically work, butthe weight of the camera bows the pipeand it's not as effective.

We purchased a 10-foot conduit pipeand cut it half to produce two 5-footsections. Each pipe secures to the feetof the Travel Slider with the plastic setscrew handles and the carriage thensits on the pipe. The construction-grade pipe rolls quite smoothly and thecreative opportunities for such a longslider are endless. The end pieces eachhave two fold out feet which lock downwith rosettes, securely holding theminto place. Each foot also has rubberizedpads so they will grip more securely ona smooth surface, and minimize dam-age to soft floors such as wood.

We attached an EOS 5D Mark II andManfrotto 501 tripod head to the sliderand tested out some moves with theslider on the ground. The carriage rollsvery smoothly and produces excellentresults. When the carriage is mountedon the top of the rails however, it islargely impractical to tilt the cameraupwards as the center of gravity isthrown off too far, causing one side tocome off the rails. Using this slider inthe upward position is best suited for

shooting objects at around the samelevel as the slider. Perhaps in the nextmodel this slider could include a secondset of wheels on the bottom to help withbalance. We flipped the carriage upsidedown so that the camera mount was

Top-only wheels

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Bald Cap Imagine a thin skin-like showercap that is glued to the head over the hair toconceal it or protect it. The bald cap is anotheritem that is harder to find outside of Halloween,but youre likely to spot it in your local pa rty ornovelty joke shop and theyre not too tough tofind online.

Spirit Gum (Pros-Aide) Specially formulatedglue that is applied to the skin and holds down

appliances like nobodys business. Medicalsupply stores may have an equivalent medical-use adhesive. This substance is also used tocoat prosthetics to remove stickiness or toprovide a proper surface on which makeup canbe applied.

Modeling Clay An oil-based plasticine clay thatcan be sculpted into the shapes of your prosthet-ics. From these negative molds are made, whichcan then be filled with Latex, silicone or the liketo make your final prosthetics. Find it in any localcrafts store.

Alginate A plant-based powder that whenmixed with water can be used to safely takeimpressions of body parts or objects. Thin lay-ers can also be used as a separating agent whenmaking molds. This can sometimes be found inmedical supply stores, but most likely youll have

to have it shipped. Casting gel is a product thatis similar to alginate but with slightly differentproperties found in craft stores.

Gypsum Cement Harder than Plaster of Pariswhen dry, this substance is too heavy to forman appliance itself and is never used directly onthe skin. Rather it is used to form a hard shellfor your mold inside which prosthetics can beshaped. The most popular type in the film indus-try is Ultracal 30. Small batches of hydrocal canrarely be found in art stores and mixtures usedfor other purposes (though still decent for molds)can be found in home improvement stores.

Plaster Bandages A burlap-like fabric soaked inplaster powder. When wet and applied in conjunc-tion with the gypsum cement, they will dry andharden to form an outer shell around the cast.

Likewise it can be applied to alginate without thehydrocal (using cotton or some other stringy mate-rial as a joining element) to form a thinner, lightermold of its own. It can be easily found in medicalsupply stores, or you can create your own by usingactual burlap fabric over the regular plaster.

The Basic MaterialsIt might surprise you to learn that most of thematerials used, or their equivalents can befound in arts and crafts, hardware and medicalsupply stores. Below are some of the more com-mon items.

Liquid Latex Clear or tan colored liquid thatcan be applied in layers, built up and formedinto skin-like textures. This and its foam coun-

terpart will most likely be the hardest items toacquire. Typically, you can only find it locallyin small amounts at party supply stores duringthe Halloween season. Short of that, its best tofind a theatrical makeup supply store and haveit shipped to you.

Foam LatexThis mixture expands as it driesto form a tight sponge-like substance that willhold shapes when hardened yet be flexibleenough to allow movement. Foam tubing andPaper Mache can be found locally and cansometimes be used just as effectively.

Silicone Similar to liquid latex, only withmore of a shiny texture and less tackiness whendry. This substance can set quite fast and betricky to manipulate accurately, even for experi-enced users.

What looks like something to be locked behind glass in a phar-

macists office is actually the foundation of a good prosthetics

kit: liquid latex, cold foam, spirit gum, silicone and gel foam.

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Getting Started with Prosthetics


Separating Agent A slippery seal-ant (like oil or Vaseline) used to coatthe inside of a mold before the latexor silicone is added. If no separatingagent is used, the prosthetic will likelyfuse to the mold as it hardens, makingremoval all but impossible.

Makeup Removal Compound Makesremoval and cleanup easier and

less painful for the talent and helpsremove prosthetics while minimizingdamage. Any makeup supply storeshould have good removal and cleans-ing agents.

Application Tips and PitfallsLets say you have a prosthetic youdlike to apply. Hows it done? Assumingyouve already laid out your overall de-sign, youll need to consider where toplace everything and if there is overlap,which should go on top of the other.

Your appliances should generally con-form to anatomy, either of a person, orthe creature youre trying to emulate.The less you conform, the less peoplewill be able to understand it. The audi-ence needs recognizable elements inorder to define what youre trying toconvey. Unfortunately the human bodydoesnt always lend itself to your de-sign. Hair for example, is often a major

obstacle to be overcome.Well start with pre-made appli-

ances. These are the simplest to use,but they offer the least amount ofcustomization. Use these when youdont have a lot of time to invest, butbe aware the one size fits all natureof these items can lead to designlimitations and ill-fitting applications.Dont be afraid to use pre-made ap-pliances in ways they are not meantto be used. Lets say you have a pairof pre-made horns. Instead of using

them on the head, usor shoulder spikes in

If you do place thehead, youre going towith your subjects thYou could ask them tbut dont expect a poIn this case were goibald cap over the haiserve as a new found

ances. Flatten the haipossible with a stronthe cap over your subcan be flat braided anback of the cap and twearers costume. Yoshape around the earleast a quarter-inch bside burns and hairlinMark trim lines with pencil and trim smoothe back as long as pocan tuck it inside the

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Apply a small line of spirit gum to the insideedge of the mask along the forehead (Figure2). In most appliances you need only apply theglue to the prosthetic, but since this is the mostimportant seam, and will suffer a good deal ofstrain, you might want to apply some to bothsurfaces. This, however, could make removalmore difficult, and provides an increased riskof lumps, so minimize this practice as much aspossible. When the glue is very tacky, smoothlylay the seam back down onto the skin and hold

lightly until it sets. Continue to glue down thesides and around the ears. Stop at the top just asyou start to go down the back of the ear.

Have your subject tilt their chin up slightly nowand tape or glue down the back of the bald cap tothe base of the neck (Figure 3). When they returnto a normal posture, the cap should be withouttension, yet taught and without wrinkles. At thispoint, finish gluing down the remaining edgesfrom the top of the ear down the neck. Learninghow to avoid bunching, folds and loose edges willmean the difference between a successful appli-ance and a sad one. Always glue from one loca-tion outward. You never want to start at the sidesand work to a central point. If you need to gluedown directly over thick hair, like eyebrows orsideburns, then be sure to coat them in Vaselineso they dont pull the hair out upon removal.

A light brushing of spirit gum or latex over thecap will provide a base suitable for makeup and

other attachments. You can now glue the hornsanywhere on the head or cap. Whenever possible,keep seam lines to shadows and undercuts, or

CONSIDER YOUR OPTIONS

Prosthetics must work well with the situation at hand. If youre just

making a Halloween costume, you can get away with a bit more than

you can if youre creating a creature for a movie. There are many con-

siderations when designing a makeup application. Will the makeup

be seen close up or from far away? Will the talent be required to

act through the makeup and to what extent? What will the light-

ing and costuming look like? Will the genre be silly or serious? If the

appliance is required over many days can you recreate it with speed

and accuracy? What will the lighting be like? Will your creation hold

up to action or getting wet?

Perhaps you can get away with a rubber mask instead of a full pros-

thetic appliance makeup instead of a mask or a costume to sug-

gest a creature instead of building one. Knowing how you are goingto present your creation to the world will help you make smart deci-

sions in designing and fabricating your prosthetics. Finally, remember

to take photographs of your finished product for consistency should

you ever need to recreate it, or for inspiration on your next makeup.

Getting Started with Prosthetics Figure 1

Figure 2

Figure 3

Figure 4

Voila!

PhotosbyFritzHeisterkamp;Make-UpArtistGrischaHrrmann


at least away from the direct camerasight. Smooth transition lines as neces-sary with latex or morticians waxusing a makeup sponge. You can alsohide edges with hair or makeup (Figure4). Finally, keep in mind the textures ofyour appliances. Horns shouldnt flopwhen the character moves. On the oth-er hand, making them too heavy canmake them uncomfortable or causethem to fall off. Packing hollow appli-

ances with light foam or even cotton is,in most cases, all thats necessary.

If youre going to conceal bloodtubes, lights, or other effects underyour appliances, run them first. Followthe same seam lines and run them tohidden access points under cloth-ing or hair. Be sure not to pinch yourtubes when you apply the makeup.

Applying makeup effectively is anart all its own and requires as muchpractice as prosthetics themselves.Stippling with sponges, drawing with

brushes and even airbrushing areall techniques to experimentwith and develop over time.As a beginner, try your bestto follow this rule: blending isimportant to the overall lookand accentuating the transitionfrom light to dark will help defineyour shapes.

Making Your Own

To reiterate, the key points of a goodprosthetic are smooth and even appli-cations, small and hidden seam linesand well blended concealing makeupthat defines the form of the anatomy.Achieving this is a little trickier withpremade effects, which are by ne-cessity one size fits all and may notbe exactly what youre looking for.Fabricating your own appliances out oflatex, light foam or even paper macheallows you to better fit your pieces intothe exact places theyre supposed to

The wound above is m

like material called G


go and creates the exadesire. Such fabricatioart form and will requof refinement. In the things may not be perallow your talent to emmakeup. For this you even closer to your tal

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Peter Zunitch is an award-winning video editor based

in New York



can work in fine detail to create piecesthat exactly match the application siteof your talent on one side, and createthe new textures and shapes on theother. This is an advanced techniqueand should be eased into only after thebasics have been learned.

To that end, wed be remiss in ourdiscussion if we didnt talk abouthow this is done. There are differentmethods to lifecasting, so for now

well touch on one of the easier onesto try first. In your local craft store,youll find the sculpting and mod-elling section. There you can findmodeling gel. Detailed instructionsare on the packaging, but essentially,youre going to create a quick settingliquid that will form a firm gel whenits ready. If you placed your handsinside a bucket of this liquid as ithardened and remained very still,you would be able to remove yourhands to reveal a negative mold ofthe anatomy. The biggest issues toavoid at this stage are moving aroundtoo much which will destroy theimpression and creating under-cuts where the hollow spacebends back up upon itself creatinginevitable air pockets in the cast and

may even prevent extraction from themold without destroying it. Makingfists is okay, as is keeping your fin-gers mostly straight, but curling your

fingers under will cause the cast tofail as the fill material will not be ableto reach and settle in all areas evenly.

Since this mold is disposable, wecan proceed to pour a plaster mix intothe cavity. Pour a little bit at first androll it around to make sure all sides inare covered. Proceed to fill up the restof the impression being sure to tilt themold to free tight areas of air pockets.Once the mold is full of plaster set it

aside to dry. Be aware that the tempera-ture of the water you use plays a bigrole in how many of these products re-act. A few degrees difference can meanthe difference between a mold takingtoo long and one that sets up too fastto be usable. When the plaster has atlast hardened and cooled, remove thegel and touch up any imperfections inthe cast. You now have an essentiallyaccurate sculpt of your hands.

To create your prosthetic, apply plas-ticine (non-air drying) clay to the sculp-ture. You can now sculpt shapes thatwill perfectly conform to your hands.Once your creation has been designedmake another impression of the outsideof the clay using the same plaster cast-ing method described above. Youll haveto build in dividers using thin tin flash-

ing playing cards, or whatever works soyou can separate your mold, otherwiseyoull have to break the plaster to getyour prosthetic out. When hardened,


SAFETY CONSIDERATIONS

Now that weve wet your appetite wed

hate to scare you off, but like those

annoying pharmaceutical commercials,

wed be remiss if we didnt at least

mention the potential complications

involved with prosthetics and special

effects makeup. These rarely pop up,

but they do from time to time. You

should always be conscious of safety

considerations, and be prepared to

take precautions against any issues

that may come to pass.

People can be allergic to the chemi-

cals and compounds used in special

effects makeup and prosthetics. Test

for reactions on small areas before

doing any application. Take steps to

avoid large amounts of hair being pulled

out and keep chemicals like spirit gum

out of the eyes at all costs. Some people

find prosthetics itchy and uncomfortable

or even claustrophobic. They may make

skin feel dry and sensitive for a few days

after removal. Makeup and compounds

can stain and be hard to remove. Strong

scrubbing will likely be needed. Read

instructions carefully and be aware of

potential increased risk of flammability.

Always be aware of your subjects safety,especially when cutting, applying and

painting appliances. Dont forget that

some applications may lead to impaired

mobility or restricted line of sight, so your

subject may have a hard time getting

around obstacles.

Lighter considerations such as wasting

time and money on an unsuccessful

mold, or the incredible mess that cast-

ing can create are less severe, but

more prevalent. There is a moderate

initial investment that is required as

well, and youll probably have a good

deal of waste at the end. Reusability of

anything is not guaranteed and some

steps just cannot be rushed. Practicenot only makes perfect, but it will help

you avoid or overcome all of these

issues and result in safe, efficient and

awe inspiring makeups.

separate the molds and clean out theclay. Paint in your separating agent witha brush being sure to get all the nooksedges and corners. Reassemble the twomolds together and pour latex, foam orsilicone into the cavity where the clayused to be. If you make the mold strongenough and separate carefully youshould get more than a few uses out ofthe same cast.

Creating, applying and conceal-

ing prosthetics is an art form thatwill take quite a long time to developand refine, but dont be afraid to tryit. Getting started is easier than youthink, and most materials are as closeas your nearest hobby shop, craftstore and home improvement outlet.Overall success will depend on yourknowledge of the materials, yourcreativity and your ability to remem-ber the golden rule of special effects:they look best when they dont callattention to themselves; rather theyfit seamlessly into your creation as awhole. You can develop the skills tocreate the character you envision inevery way. Dont be afraid to take thenecessary first step. Experiment, cre-ate, amaze and enjoy!

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