Kessler Crane Parallax For Stealth Slider

The Kessler Crane Parallax is an add on accessory for the Kessler sliders (length and type specific) allowing the camera to pan while keeping your subject matter in the center of the frame. In essence, it provides an additional axis of movement to your horizontal slider moves. These can be inward or outward panning moves which provide additional dynamic movement which is great for B-roll shots. It attaches to the slider’s underside mechanically with 2 adjustments on each end allowing you to pivot the camera on the Parallax carriage to keep the camera aimed at your subject matter. Then as the camera travels up and down the slider the carriage arm rotates the carriage which pans your camera.

This is a great tool for sit down interviews. You can pair this set up with Kessler’s Second Shooter 1-axis motion control system to be used with a second camera off to the side during your interview. The Second Shooter can be programmed to travel up and down the track with delays at the beginning and end moves to provide you additional footage for your edit. Once this is set up and programmed in… it can run unattended, given you have enough power and memory.

This is a great tool to have if you use or are considering going with Kessler’s line of sliders in your kit. The Kessler Crane Parallax adds so many options for you when you’re out capturing your B-roll shots… even when running manually without any motion control tied into it.

Kessler Crane Parallax Accessory

Kessler Crane Parallax with Stealth Slider

The Kessler Parallax carriage allows you to mount your camera to suit your needs. Below we show the Kessler Low Profile Ball Head attached to it. This little ball head offers a lot of adjustment (62 degrees) and payload for its size. Its bottom bolt size is 3/8″-16 allowing direct threading into the Parallax carriage. You also have the option on your top bolt size of either 3/8″-16 or 1/4″-20 at time of purchase. Kessler also offers each size ala carte in case you come to find you need the other size down the road. They are swappable via the 3 hex screws on the top.

Kessler Parallax with Low Profile Ball Head on Stealth Slider

Blackmagic Design BMPC-4K Accessories

The Blackmagic Design Production Camera offers great value at its price point for a 4-K camera. But it’s not fully equipped ‘out of the box’ to function in the field. Additional basic accessories are needed such as external power and audio mic preamps on top of those that tailor the camera to individual shooting needs. This add-on gear for our BMPC-4K includes accessories from vendors such as Zacuto, Viewfactor Studios, Juiced Link, Sennheiser, and SmallHD. Our rigging in the photo below includes the following additional accessories…


BMPC-4K Accessories For Baseball B-Roll

Blackmagic Design BMPC-4K Accessories
In the above photo notice the follow focus gear from Zacuto. This type of gear, with the metal stops attached to each other (to lock the strap together), is currently being upstaged by new 3-D printed designs that slip onto your lens’ focus barrel. Notice in the photo below one of these 3-D printed follow focus gears on the Canon 24-105mm zoom lens. The gears are wider and the fit is nice and tight with no spin or movement when it’s in position on the focus barrel. We’ve really enjoyed these new 3-D printed follow focus gears and will be outfitting additional lenses with them. You can find more info about these gears at the Follow Focus Gears website. They offer gears for multiple lens manufacturers.

3-D printed follow focus gears for BMPC-4K accessories

Stay tuned for more blog posts on additional BMPC-4K accessories.

Neutral Density Filters for the BMPC 4K

Neutral density filters are a must-have item in any cinematographer or photographer’s toolkit. Digital cinema camera sensors are optimized at higher ISOs vs a traditional DSLR sensor. These can be 400 and 800 ISO with the Blackmagic Design Cinema Cameras. As a result, if you’re shooting outside on a bright sunny day you’re going to need ND with a BMD camera. They not only help you get your aperture to where you need it to be for artistic and aesthetic purposes but also allow you to expose the picture properly without it going into clip on those sunny exteriors. These sensors are also prone to what’s known as IR contamination when higher levels of neutral density filters are used. This infrared contamination can wreak havoc on the color balance of your picture… especially in the blacks (ie: black clothing). The darker black tones in your picture will tend to shift to brown and skin tone will be affected as well. This is a colorist’s nightmare in post-production and often is never completely color-corrected without a compromise in the picture’s tones elsewhere. To correct this during field recording an additional filter, known as an ‘IR Cut’, is needed when higher amounts of neutral density are used.

Many matte boxes can accommodate 2 filters at the same time but what if you’re working with a smaller rig without a matte box and require screw on filters? What if you could have the functionality of neutral density and IR Cut in one piece of glass without any color cast? That is now an option with the Firecrest line of neutral density filters from Formatt Hitech. We continue to test their circular 72mm versions and are liking the results we’re getting. Stay tuned for more on this exciting new line of neutral density filters.

Firecrest Neutral Density Filters – Formatt Hitech

Formatt-Hitech Firecrest Neutral Density Filters

Kessler Crane Second Shooter MoCo System

We’re excited about adding Kessler Crane’s newest motion control system to our toolkit. Second Shooter is a 3-axis system offering keyframe control over pan, tilt, and slide movements. Here we’re showing this ‘moco’ system in a single axis configuration for the horizontal sliding moves with Kessler Crane’s Parallax bar attached to their Stealth Traveller slider. This set-up is ideal for sit down interviews with a B-camera set off axis from the A-camera. Second Shooter can be programmed in a loop mode to travel up and down the track with the Parallax offering the ability for the camera to pivot as it slides to keep its focal point on your subject. This is a great addition for anyone recording sit down interviews with its programming options. You can set speed ramps at the beginning and end of a slide as well as a delay before it returns to its starting point. Net result?… more options for your editor… and even better when it’s you!

Second Shooter Single Axis Motion Control System

Kessler Second Shooter with BMPC4K on Stealth Slider


4K Acquisition Arrives With BMPC

The Blackmagic Design Production Camera 4K has recently arrived at Postquis Design LLC. We’ve waited for a while to make the move to the 4K dance as we felt that critical functionality was missing in the BMPC 4K camera until recently. The release of Blackmagic Design’s firmware version 1.9.5 removed those concerns and it was time to join the 4K production world. The addition of audio meters in the on-camera LCD, time remaining for the SSD, a histogram (albeit a small one), and the ability to format your SSDs in the camera make for a very welcomed firmware upgrade.

Now comes the time to rig it for our projects and how we prefer to work in the field. Many hours were spent over the past months deciding on how that would begin when the time came… what would be the best cage for it… the foundation for all the other tools for which it would be equipped. We always kept coming back to one in particular, the View Factor Studios BMCC cage, which also fits the BMPC 4K model. The design of it is such that it fits the BMCC and BMPC 4K cameras like a glove. We look forward to its arrival and will be posting some BTS of it when it does!

Till then, it’s time to check out some glass with it and run it thru some preliminary tests. Ours is the EF mount version (BMD has recently announced a PL version also for the 4K camera) and should do well with Canon ‘still’ lenses. But for those new to the cinema/video production world, ‘cine’ glass which is de-clicked and has built in gears for follow focus and aperture if needed often makes life much easier on set.

Below are a Rokinon 14mm T3.1 cine de-clicked lens on the BMPC 4k and a Tokina 11-16mm f2.8 photo lens. Take note of the side markings on the Rokinon cine lens. Should you rig your BMPC with the intent of having a focus puller work with you… these side marking make it much easier for them vs the top markings on a stills photo lens.

BMPC 4K w-Rokinon 14mm Cine Lens

Rokinon 14mm T3.1 cine lens with BMPC 4K

Additionally, with a cine lens you get smooth changes on your aperture ring. You aren’t restricted to 1/3 stop clicks… you can fine tune your aperture to any position between what would be clickable stops on a photo lens.

BMPC 4K w-Tokina 11-16mm lens

Tokina 11-16mm f2.8 photo lens with BMPC 4K

Stay tuned for more updates on our blog as we continue to get our BMPC 4K all dressed up for the 4K party! Next up… getting it slipped into the View Factor Studios Blackmagic Design camera cage.

Fly Thru Wireframe Background

Here’s a stock footage clip where the camera flys thru a wireframe background of multiple golden lined structures. Various shaped 3-D models are rendered in a wireframe view. Multiple geometric shapes collied with the camera as it continues to fly thru them. The final frame on which the camera stops is structured with horizontal and vertical thin line elements. You could animate your titles and anchor them on these horizontal stroked lines.

Wireframe Background | Stock Footage Motion Background

View a Hi-Resolution Still Here     |     View or purchase this clip at

Fly Thru Wireframe Background small | Stock Footage | Postquis Design LLC

  • Length: 15 sec.
  • Loopable: No
  • Sound: No
  • Frame Rate: 24 fps
  • Field Rendering: Progressive
  • Codec: Photo JPEG

Resolutions:  1920 x 1080 | 1280 x 720

Fly Thru Wireframe Background finalHere’s the final frame of this stock footage clip. As mentioned above, you could extend this frame in your timeline and animate your titles while using the stroked lines of the wireframe model to format them. Add your logo or graphic elements in the center area.

Debt Ceiling Credit Crisis Bumper

A concept title animation relating to the ongoing federal debt ceiling credit crisis. This is a 32 bit clip with its alpha channel embedded. This stock footage clip also provides full frame alpha channel edit points for transitions under the animation as well as a reveal at the end. This clip also stands on its own as a bumper animation as just full video over its black background in the upper half of the frame or you could utilize the tail end with it’s alpha channel for a reveal as the lens flares fly away.

Alpha Channel Embedded – Pre-Keyed Debt Ceiling Bumper

View a Hi-Resolution Still Here     |

Debt Ceiling Credit Crisis Bumper Stock Footage

  • Length: 6 sec.
  • Loopable: No
  • Sound: No
  • Frame Rate: 29.97 fps
  • Field Rendering: Progressive
  • Codec: PNG (32 bit with alpha)

Resolutions: 1920 x 1080


Postquís News Series –  Stock Footage

SPECIAL REPORT Breaking News Bumper

You might also be interested in our News Series bumpers. Check out our Special Report News Bumper 2.

Stock Footage Transition Sound Design

We’re often asked how to accentuate stock footage transitions with sound design for greater effect. When working on your stock footage transition sound design a few basic core factors come into play. These are how the transition is being used and in what context. One such use may be within a sports broadcast. In this case the sound design is accentuating a change of content, such as to a full page graphics panel or to and from a hi-light replay. This scenario may call for powerful SFX if being used during a hockey telecast as opposed to a more subtle swoosh type sound effect for a tennis match when used for a replay transition. If your project’s main body of work is an interview with a corporate CEO and you need to support the interview with full page graphic panels, then your transition sound design effects would most likely need to be subtle. In this scenario they most likely would be mixed with the CEO’s mic during his responses. Here a very subtle sound effect mixed under the main mic could put a subtle accent on your supporting graphics.

Once you’ve determined the style for your transition sound design you can then move on to determining how the visual aspects of the transition reveal themselves on the front end and back end of the transition. In the following example we’ve designed a lens flare that rises and flys toward the viewer to reveal the abstract elements. Here a sound effect that has a swell or build up helps to accentuate that motion. For the reveal a more defined lens flare flys out in a sweeping arc as it comes towards the viewer before flying away on the reveal. We’ve also chosen a sound effect with a ‘snap hit’ built into it to further accentuate the reveal point of the transition. We believe this type of transition sound design has an ‘impact style’ and thus more appropriate for situations where you’re looking to add a substantial accent in your sound design during the edit point transition.

Stock Footage Transition Sound Design with Impact

We hope this provides some insight into the general considerations you might take when adding sound effects to stock footage transitions in your projects. You can find some great sound effects at

Stock footage transition sound designIf our stock footage transition above fits your needs (video only) you can find full details and info on our site at Solar Burst Transition 2.

Be aware you can time-remap the duration of your stock footage transitions to be shorter if you are looking for a fast interstitial visual to bridge your transitional edit points.

Fire Streaks Explosion Transition 2

A stock footage royalty free fire streaks explosion transition clip. This 3 second clip consists of multiple lens flares which build on top of fire toned streaks of light. This 32-bit transition builds to a full frame explosion of dissipating particles. This full frame (alpha channel) provides the edit point under which your transition occurs. As a  32 bit clip with its alpha channel embedded you will not need alternate blend modes to key this clip.

Video Preview

Pre-Keyed Fire Streaks Explosion Transition – Alpha Channel Embedded

View a Hi-Resolution Still Here     |     Purchase this clip at

  • Length: 3 sec.
  • Loopable: No
  • Sound: No
  • Frame Rate: 29.97 fps
  • Field Rendering: Progressive
  • Codec: PNG (32 bit with alpha)

Resolutions: 1920 x 1080

If you are in need of a shorter transition, this fire streaks explosion concept is available without the exploding particles at the end. Preview our alternate stock footage transition titled Fire Streaks Transition 2. This alternate clip has a duration of 2 seconds making it more flexible when building packages where total running time is critical as in a sports highlights package.

Fire Streaks Transition 2 | Stock Footage | Fire Streaks Explosion

Stock Footage As Basis For Facebook Cover Photo

Facebook’s new Timeline layout emphasizes a large area at the top of the page known as the Cover Photo. In addition to simply using an existing photo that you have on your Facebook page you can also get very creative and design a custom Cover Photo utilizing Royalty Free Stock Footage. In the example below we went to our favorite compositing application, Adobe After Effects, to demonstrate how you can design a custom branded graphic image for the area at the top of your Facebook Timeline home page.

Facebook Cover Photo Stock Footage Design

This example utilizes a Royalty Free Stock Footage clip from our portfolio at We then color corrected it, added a VCP lens flare with a blending mode of Screen, and finally added our name and tag line. The profile image graphic in the lower left has been added here to show you how both would work together when Facebook inserts your Profile Image on top of your Cover Photo. It all starts with a Royalty Free Stock Footage video clip from which you have multiple snapshot images to choose from for …Read More