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The latest release from Col B Cadell Photo and Video:

– Col B.

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Everything Will Rust – MISERY SIGNALS TOUR DIARY PT. 3

May 16th (Sydney)

Good morning Canberra and good bye, I mean the day had to start somewhere. We took the return trek back to Sydney today, where MS would be performing at The Hi-Fi, a venue located near film lots at Fox Studios. I took the time on the drive to write a few of these entries and attempt to start editing the slew of photos I had been collecting since the start of the week. This is one of the time consuming parts of being a tour photographer; where the hell do you find the time to get everything done. I also work a full time job outside of photography/video work, so my life can get a little bit more hectic than it usually would at certain times of the year.

The drive was reasonably painless, minus the usual ‘we’ll be there in 5km, about 5mins’ only to find half an hour later we were still on the road. That’s part of the pain/fun of touring, getting lost or finding your way in a city you’ve never been too, or rarely visit. After collecting more gear we arrived, the usual unload proceeded and sound check followed. During this time I went and hung out with the lads from Stories for a bit to see what made them tick; under it all, genuine dudes. It was around this time that I also met Jared Liebowitz, a photographer from Sydney, who 1) does great work and 2) is a nice dude and really personable to boot. I’ll take this time to shout out to Jared as well for giving me a lift back to my accommodation in Newtown that night, you’re a legend.

As the doors neared so did the fun, everyone was seeming to loosen up; tour was nearly done, people would get to see their loved ones and hopefully get to sleep in your own bed. There was an energy in the air that hadn’t occurred yet this tour and it seemed to be toxic, I mean it could have been my perceptions through a haze of bong smoke (self inflicted) but I dare say people were just in a more relaxed mood.

That mood in part was helped by Karl’s new drinking game, throw the coin in the bin, that simple. One corner of the green room had a large garbage bin, the other side couches, from said couches we were to throw a 5cent piece with the aim of getting it in the bin. If you land a shot you can nominate someone to drink, the nominated then gets a chance to bounce the punishment back if they land a ‘redemption throw’, if not drink. Thus was to be the circle of life for the next few hours until closer to MS hitting the stage. I learnt a few things during this game, 1) Karl isn’t good at his own game, 2) Karl is good at drinking beer really fast, 3) Ryan and I both scull like girls.

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@karlschubach losing at his own game.

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@ryannothing losing at Karl's game

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@colbcadell sucks @ beer

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Stories - Sydney, Australia

Stories – Sydney, Australia

Stories - Sydney, Australia

Stories – Sydney, Australia

Stories - Sydney, Australia

Stories – Sydney, Australia

Stories - Sydney, Australia

Stories – Sydney, Australia

Stories - Sydney, Australia

Stories – Sydney, Australia

Stories and MS both killed it tonight, the crowd loved it and following the shows events I got to catch up with two of my closest mates who reside in Sydney. Stories were particularly hectic tonight, one part being it’s their hometown, the other that they (to me anyway) really really want to do something with the tunes. I dare say they will; and more quickly than some might expect with their signing to UNFD a good start for sure.

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Misery Signals - Sydney, May 2014

Misery Signals – Sydney, May 2014

Misery Signals - Sydney, May 2014

Misery Signals – Sydney, May 2014

Misery Signals - Sydney, May 2014

Misery Signals – Sydney, May 2014

Misery Signals - Sydney, May 2014

Misery Signals – Sydney, May 2014

Misery Signals - Sydney, May 2014

Misery Signals – Sydney, May 2014

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Misery Signals – Sydney, May 2014

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Misery Signals – Sydney, May 2014

The next day would be an express Opera House visit then home for the last two (3?) shows; Misery Signals would be back in the city I first saw them and a secret show would be had at Crowbar, the best venue in the country.

Misery Signals - Opera House, Sydney, May 2014

Misery Signals – Opera House, Sydney, May 2014

to be continued in the final part…….

LIVE WORKS PART 3 – YOU SAID IT….

Feed Her to the Sharks Live at Thriller, Brisbane – 30/11/2013
Song: Fuck Melbourne.
Album: Savage Seas (2013)

Please hit the LIKE button and SUBSCRIBE to our channel!

https://www.facebook.com/feedhertothesharks

All music played by FHTTS.
Recorded by Ean Redman
Mixed by Arin Ozdemir
http://www.facebook.com/thecreativeau
Created by Col B Cadell Photography & Video:
http://www.colbcadellphoto.com
http://www.facebook.com/colbcad

– Col B

Awaking Prophecy

Recently I had the chance to film the first video for Melbourne based Death Metal act ‘The Ophidian Ascension’. Making the most of Magic Lantern’s new raw capability, I decided to use it for the shooting and shot the whole production in a combination of 24fps and 60fps. All footage was captured on a 128gb KomputerBay memory card. Two versions are available below, YouTube and Vimeo. I recommend the Vimeo one if you want the true clarity and colour I selected as YouTube seems to mute some of the tones.

The Ophidian Ascension – Awaking Prophecy (Official Video) from Col B Cadell on Vimeo.

– Col B.

CINEMA VIEW – 2:35:1 Anamorphic Exporting from Premiere for Vimeo/Youtube Upload

After hunting around on the net and various sources for a simple guide on how to get your DSLR or whatever footage into the 2:35:1 Anamorphic format I have decided to write my own. This method will allow you to export to Vimeo and Youtube without the black bars showing when the video is embedded.

1. Firstly download this PSD file from the following link – https://www.dropbox.com/s/9twrgw4zyr7r50p/CBC235Template.psd

2. The above will be your template/guide for aligning your footage in the timeline. Import the above template into Premiere (if using FCP convert this to a PNG and go from there) and place in your timeline above all video tracks so that it sits on top. Note below that the 2:35:1 marks are not yet turned on, as shown in the program monitor.

Screen Shot 2013-05-19 at 11.00.15 PM

3. Once inserted into the timeline, make the template visible and lock it from being editable as shown below. You will now have black bars top and bottom of your program monitor. Now import and edit your footage as required:

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4. Once editing you might find that you aren’t happy with where the shot lies e.g. the actor’s eye-line is cutoff or an important piece of scene information is missing due to the 2:35:1 crop area. This is now the time to reposition the image to highlight what you want seen. This is one of the great advantages of 2:35:1, you can force the viewer to look at a desired focal point.

Select each individual clip and then select Motion from the effects menu and change the relevant position numbers of the clip. The number you are wanting to effect should default to 540 in a 1080p clip. Simply decrease the number to move the video up and increase to move down. Bare in mind that moving it too far will increase the area of black space at the top or bottom of the screen beyond that of the 2:35:1 framing.

5. Now your ready to export your video. Follow the usual path File – Export – Media. Here you want to setup the export settings. I recommend the following, and it must be done in this order or else the Output resolution will continue to reset to 1920×1080.

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Settings (as above and below):

  • Select custom H.264 as video format
  • Select level from the Basic Video Settings. As a standard it can remain on 4.2 but if your dealing with RED/Arri/BMCC footage you will want use the 5.1 level as it allows for a larger bitrate encoding.
  • Select High from the profile list. The default is main, but high will encode the file with less compression.
  • Change Pixel Aspect Ratio to Square Pixels.
  • Choose your appropriate frame rate.
  • Change the resolution to 1920×816, this will change the output size of the video to meet the 2:35:1 size.
  • Use VBR 2 Pass for bitrate at the bottom of the Basic Video Settings panel
  • For DSLR use a bitrate of 16mps (higher than recommended, but retains more detail)

Screen Shot 2013-05-19 at 11.01.16 PM

6. The final step is the cropping of the video to make sure it meets the required output. While you have already set the output size (1920×816), you will now need to set the crop. Crop your source at the top (132) and bottom (131) to remove the black lines and enable your video to embed in widescreen, rather than with the annoying black bars.

Once the crop has been done and the output view looks to only show the cropped video, then you may export.

cropsettings

So why go through all the effort? Simple if you export a file setup to be 2:35:1 via the normal export route, you will find that it retains black bars, top and bottom even if embedded (as below). Some people don’t mind that, but I personally think it’s sloppy and really effects the embedded view of your videos.

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By completing the steps above you will now have an embedded view that looks like this:

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Simple, clean and ready for Vimeo and Youtube upload without those pesky black bars.

– Col B