4K Footage, Artbeats and You – Part 2

7 Examples of ways Artbeats maximizes 4K and Raw in our production workflow.

4K capture brings huge advantages to post-production. Production designers will use these advantages in different ways, depending on the application and finish. For stock footage production, we have our own specialized methods for exploiting all that resolution and color depth. In Part 2 of our series on 4K, I will share seven different ways we treat 4K and 5K footage in post to maximize quality and usability in our end product. These tips and tricks may give you some ideas on how to process your own 4K footage.

First, I need to explain that Artbeats offers two varieties of 4K footage, Raw and Color Corrected. The Raw version is for those that want to do their own color treatment and the Color Corrected is our own best attempt at being true to the original scene, giving moderate saturation and contrast without crushing blacks or clipping highlights. We also improve, or adjust, other aspects of the footage as needed. (What I am sharing below are just some of the things we do in our post-production workflow for the Color Corrected version.)

1. Cropping for composition.

The nature of our shooting is often “in the moment” as things are happening. We do not always have time to frame our shots perfectly. The 4K image gives us room to adjust the position easily while still fitting in a UHD (Ultra HD) frame size of 3880×2160.

Below is an illustration of how much room we have to crop while still maintaining 4K or UHD frame size:

Cropping chart

When we shoot aerials, we have found that some gyrostabilization gimbals do not always get the horizon level. We can do almost 2° of horizon correction while still staying within the 4K or UHD frame. Here is an example showing the rotation fix and the 4K image: (surrounding image darkened to emphasize final crop)

Tilt within cropping 630

Here is another example showing a crop to compensate for a lens distortion fix:

Lens Correction Finished Size 630

2. Adjusting Stabilization.

This is similar to #1 in that we are using the extra size of the image to give us room to apply a fix. In this case we are adjusting for undesirable wobble or shakiness, and also rotation since the horizon didn’t stay level. Once we stabilize the clip it usually still wanders outside the UHD crop, so we apply Bezier position fixes that “smooth out” the worst part of the instability while allowing some of the natural camera motion, thus keeping the image within the UHD frame size. This clip shows a side-by-side example of the kind of stabilization fixes that are common for us:

3. Cropping for driving plate format.

Our 5-Angle driving plates use a wider format than is typical. Since the top and bottom of the image is rarely used for these kinds of plates, we use a very wide-angle lens and crop to 3840×1200:

Driving Plate Crop

4. Matching frames and adjusting parallax for perfect HD 3D.

Even identical lenses won’t yield images that perfectly match. We found that we needed to adjust rotation, scale, position and then apply a mesh warp to compensate for lens distortion in order to match the left with the right.  Then, proper parallax can be adjusted by moving one side horizontally. With 4K we can do all this and keep a clean image within a UHD frame.

5. Adding camera moves.

Sometimes a static shot needs a little movement to add interest. We can add subtle pan, tilt and zooms while still holding resolution in the UHD frame.

6. Adjusting mattes for compositing.

In the following example, we filmed tree shadows blowing in the wind. We used white foam core for the surface to capture the shadow. Unfortunately, it wasn’t practical to position the camera directly above the surface, so we shot it “off angle” as seen below:

Tree shadow as shot

Then in post we used Corner Pin to distort the foam core back to a rectangular shape and optimized to fit in a UHD frame size. Next, we removed color to give maximum contrast for the matte. Because we shot these images in 5K, the distortion didn’t soften the image excessively:

Tree Shadow matte fixed

Then we used the matte on a background texture to indicate light and shadow as if streaming through a window:

Background texture with tree shadow

7. Using Raw color depth to apply HDR (high dynamic range).

The problem with high contrast images is that detail and color are lost in highlights and shadows. Granted, the camera may have enough dynamic range to preserve detail in those areas; however, color saturation is lost the closer you get to the lightest highlights and the darkest of shadows. Adding saturation to the image doesn’t really help since it brings chroma higher in the mids keeping the chroma of the whole image still out of balance.

However, we have found that a 4K raw image set to a higher ISO preserves more chroma and detail in the shadows, while a lower ISO setting preserves more chroma in the highlights. In the case below, we imported the same Raw 4K file twice into After Effects, and set one ISO at 800 and the other at 500:

HDR ISO settings

Then we took the brighter version and made a grayscale matte using a desatured version of the image. We added contrast to clip the highlights and crush the shadows slightly. Here we show the matte, the 800 ISO and the 500 ISO image:

DC composite 630

By combining these images using the matte, we get the HDR result. Below, we show a “before and after” example of what the HDR treatment does. Notice the richer color in the sky and water:

DC HDR compare 630

In the case below, we used the blue channel to create the mask because the goal was to darken the sky:

Desert composite 630

Here is another example of a problematic high contrast shot showing  the shot with and without HDR treatment. Notice that the detail and color in the lumber highlights is preserved in the HDR version. Notice the richer color of the grass. (This example is without any saturation added.)

Sawing compare

We hope you have enjoyed this little tour of how we make the most of our 4K and 5K footage in post, and perhaps it can inspire you to experiment as well.

4K Footage, Artbeats And You

As we follow trends in the production industry, the phrase we keep hearing is this: HD is not enough. The world is quickly turning to 4K as the new high resolution standard. 4K cameras have been around for several years and 4K TV’s are showing up on Amazon for under $1000. We believe that you will be using 4K soon, if you are not already. So, we’ve been busy building a library of thousands of 4K shots since RED released the first 4K digital cinema camera in 2007.

But what really is 4K and how can it impact your work? I’ll answer these questions from Artbeats’ perspective.

First, how do we define 4K? It is the term used to define an image that is close to 4,000 pixels wide.  I say “close” because depending on the camera, monitor, or playing device, 4K size can vary. At a minimum 4K must be 3840 x 2160 pixels which is the most common resolution accepted by TV’s and 4K players. This is also known as Ultra HD, UHD, Quad HD, 4K HD and even just 4K.

UHD is exactly twice the HD height and width, which takes up 4 times the real estate of HD as shown by this chart:

UHD Chart

4K cameras come in a variety of resolutions. At the time of this writing, here are most of the 4K cameras available:

Sony FDR-AX1: 3840 x 2160
Sony F55: 4096 x 2160 and 3840 x 2160
Sony PXW-Z100: 4096 x 2160 and 3840 x 2160 (to be released by end of 2013)
Canon C500: 4096 x 2160
Blackmagic Design 4K: 3840 x 2160
JVC GY-HMQ10 4K: 3840 x 2160
GoPro 4K: 4096 x 2160 (12fps, maximum)

RED Cameras can do the above resolutions and higher:

RED One: Max 4480 x 2304
RED Scarlet: 3840 x 2160 (5120 x 2700 at 12fps)
RED Epic: 5120 x 2700
RED Epic Dragon: 6140 x 3160

This chart shows how these resolutions compare to each other and to HD.

Size Comparison Overlay

If you commonly work in HD resolutions, you may look at this chart and say that 4K looks like a huge overkill. You simply do not need that many pixels and the hassle of dealing with larger files. However, even if your final project will be distributed as HD, 4K will give you sharper HD images, with better color and deeper dynamic range. To show how this works, we shot a scene with an EPIC and 2 HD cameras, a Sony XDCAM, and a Canon 5D Mark II. The Epic we shot in both 4K and 5K resolutions. We matched the frame exactly when shooting regardless of the resolution. The size comparison of these files matches the resolution chart above.

Size Comparison

If you show each image as-is without any scaling, you can see that the 4K and 5K images show much more detail. (The images below have been cropped to fit on the page.)

Resolution Comparison

But what if your production will be delivered on HD?  Do you really need 4K source footage?  After all, you will be scaling down the 4K frames to HD size anyway.  I have done that with this next chart:

HD Scaled Comparison

Again, we are showing cropped images here, just a tiny portion of the full image. As you can see, the HD images sourced on 4K and 5K are cleaner, sharper, more true to life. Cameras generally yield images with less detail because of the limitations of the sensor, recording system –which often uses compression–, and lens. The workable resolution, called measured resolution is significantly less than the pixel resolution, typically about 80% less.  The pixels are still there, but the absolute highest level of detail the camera can deliver will always be less. So, an HD image of 1920 pixels wide has a measured resolution of around 1530 pixels. A 4K image has a measured resolution of 3.3K and so on.  Eventually, producers will want a 4K measured resolution, which is why Artbeats is shooting footage at 5K resolutions and higher.

Why can’t cameras with a resolution of 1920×1080 deliver a true 1920×1080 measured resolution? Due to the pattern of red, green, and blue sensor sites (called a Bayer pattern), the processing that must be done (called Demosaic) will yield less than if each individual site contained all the RGB information. The recording system and the lens will also play a part in how soft the final image is. Cameras typically have detail enhancement or other sharpening algorithms at work to compensate for this softness. This sharpening can cause artifacts like “ringing” which makes high contrast edges look stressed. You can see this effect in the XDCAM example above.  The effect is also visible on the word “Eat” with the Canon 5D MII.

Granted, this is not a perfectly fair comparison.  The Canon 5D MII and XDCAM recording systems are inferior to REDcode in ways that go beyond resolution. For example, some of what you are seeing in the comparison are compression artifacts.  Regardless, the principle still applies, that a scaled 4K image will still be superior to a 1920 x 1080 capture, even if it is shot on a high-end HD camera.

Other benefits of 4K to HD scaling include better color and dynamic range, (which means that the image has a lower noise floor). How does this work? The process is called over-sampling. If you think of scaling an image to fifty percent of its size, then we are averaging every 4 pixels into every 1. That’s 4 times the information in each pixel vs. each pixel generated by an HD camera! Scaling down always yields a similar benefit, especially if you are scaling to 80% or less.

As you can see, starting your production workflow with 4K sources has merit.  However, if you are shopping for footage at Artbeats, do you always have to purchase 4K footage to get the benefit of over-sampling? Not in every case. If the footage was shot on a 4K camera, the HD footage will have been scaled from 4K, yielding a much cleaner image than that shot with an HD camera. How do you know if the shot you are interested in was sourced in 4K resolution? Each clip has an information page that shows a series of tabs in the middle. If you see a 4K tab, then you know that the HD was scaled down, giving you the benefit of 4K over-sampling. Even a 3K tab will give you a similar benefit to the HD footage.

4K Tab

Our 4K footage spans a wide range of subjects from nature to lifestyles to aerials. We’ve prepared a demo to give you a taste of the diversity within our 4K library. Just click here to view.

In Part 2, I will continue to share how 4K footage impacts production and the stock footage world.

A Little Help from Your (New) Friends

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Clip name: RC-FH138-024

Have you ever hit a creative editing brick wall? You have the beginnings of a good idea, but just can’t seem to pull it all together because you lack a particular skill or can’t make your software do what’s in your head. It suddenly occurs to you that you may just be trying to reinvent the wheel, and someone with more experience has already designed a better wheel (or plug-in) that will do more than you ever knew possible. That’s when you realize you need a little help from your friends in the post-production creative world. But if you don’t know anyone like that, then what do you do?

It might be time to think about joining a User Group. While it may sound like something you need therapy for, it’s actually a place where highly creative editing software users pool ideas, share insights, and encourage each other with training, tips, tricks, and other resources. Artbeats is a proud sponsor of several such groups, as well as being a creative resource with over 75 free tutorials on our own site. We know the better educated our customers are, the better they can make use of our wide variety of stock footage. One of our latest video tutuorials was created by Ben Balser, who is not only an Apple Certified Master Trainer, but is founder of just such an organization, the Louisiana Cajun Cutters FCP Users Group. If the experts gather to share their knowledge, it’s a good indication that some great learning goes on there.

So whether you’re a Final Cut Pro user, an After Effects fan, a Premier Pro or an Apple Motion follower, Smoke or Mocha type, there’s a user community out there for you. You’ll find a network of editors just like yourself all around the world who are anxious to share their knowledge and expertise through video demos, written tutorials, blog posts, podcasts and articles. Their meetings are fun and informative, with amazing presentations sure to inspire you and get you not only past that brick wall, but well on your way to becoming the top notch designer you know you are. And, you won’t feel out of place whether you’re a novice or a pro, because even the experts feed off of each other’s ideas.

Don’t be shy. You’re sure to be enlightened, encouraged, and included. Someday you may be the one sharing your expertise with your (new) friends. And you might just win a cool prize from Artbeats or one of many other sponsors who know that User Groups are the place to be. So go, make new friends and learn a thing or two.
Resources:
Final Cut https://www.apple.com/finalcutpro/resources/communities.html

After Effects
http://ae.groups.adobe.com/

Creative Cow
http://library.creativecow.net/video-tutorials

Artbeats
http://www.artbeats.com/video_tutorials

User Groups Artbeats Sponsors
http://www.artbeats.com/user_groups

Golden Rule of Customer Service

Golden Rule of Customer Service:
Give What You’d Like to Get

RP-FH141-97

Clip name: RP-FH141-97

In just two days I’ve had two customer service experiences at opposite ends of the spectrum.

At the fast food joint promising to “have it your way,” the gorgeous young girl taking my order couldn’t remember for two seconds what “my way” was. I had to repeat everything several times, yet when she read back my order an item was still missing. Though they were out of a number of items, she continued to take orders as though they were available.

Recently, a friend backed into my car. Her insurance company’s handling of the claim was definitely on the opposite end of the customer service scale. From the initial phone call to the final follow-up, their message was one of assurance: “We want to fix the damage promptly, at your convenience, and to your satisfaction so that you can put this behind you!” Then they did.

This got me to thinking about the “Golden Rule of Customer Service.” I Googled it and got lots of solid answers, but here’s what it looks like to me:

First and most obvious: Treat your customers the way you dream of being treated. That looks different for different people, businesses, and situations, but it boils down to the fact that each of us wants to be important enough to be noticed, heard, and valued. I want sales people to stop talking to each other, look me in the eye, and make me the center of their attention. I want them to behave as thought it’s urgent that I leave satisfied. After all, I actually pay their salary.

Second: Don’t promise what you can’t or don’t intend to deliver. If you say you’ll call me back, then do it. I don’t like to expect delivery by someone’s birthday when it isn’t going to happen. I’m an adult who can deal with the facts. If it can’t be done, just politely say so, and I’ll make an intelligent choice to continue with the transaction or make other arrangements. Your helpful alternative and honesty will bolster my confidence that you’re looking out for me.

Third: Often there’s an opportunity to give more than a yes or no answer. When asked, “Do you have this in green” the answer might be no, but asking a few questions might give you a clue to finding something else that satisfies the need – an “ above and beyond” service. Your products might be the same as your competitors’, but your service can be unique. Work for your customer as though you highly depend on his or her satisfaction, because you do.

And fourth: I like it when I get what you say you offer. If your company projects the image of caring, speed, or quality, then that’s what I want to get. Be what you say you are and more, not less.

“To give real service, you must add something which cannot be bought or measured with money, and that is sincerity and integrity.”1 I think that sums up the “Golden Rule of Customer Service” quite nicely.

1 “Douglas Adams.” BrainyQuote.com. Xplore Inc, 2013. 21 May 2013. http://www.brainyquote.com/quotes/quotes/d/douglasada148569.html

Quality: It’s All Relative

What’s Your Definition?

It seems that just about the time you get used to something, there’s an upgrade that makes the old standard feel lame. Remember when static-strewn, B&W TV went to jaw-dropping color? Then we were impressed by cable, soon made passé by satellite, and now HD. Why is something amazing one year and outdated the next? Because quality is relative.

The same thing has happened in the stock footage world. The first footage we painstakingly shot, selected, telecined, cleaned, and color corrected was SD, for goodness sake! That was over twenty years ago and, at the time, it was remarkably beautiful. Then came HD and as camera manufacturers had major breakthroughs, that old SD standard of “quality” was (though still beautiful) outdated. Those first advancements in technology took years to achieve. Now it seems that the quality-standard bar is raised every month.

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Wavebreak Media WBM-FH116-56

With all this rapid change, what really defines quality stock footage? A 5K resolution? An R3D file? Not really. Resolution is only a piece of the picture.

For Artbeats, quality is the entire package. It means utilizing the best equipment and crew and choosing worthwhile, versatile subject matter, the right vantage point, and the best framing. It means waiting all afternoon for the light to change or shooting the same ridiculous elk over and over until they do something worth seeing. It means getting up before dawn to rig an airplane, getting sick and kissing the ground after filming on an extremely turbulent flight, de-rigging, and starting all over again the next day. It means taking footage from days and days of shooting, diligently cataloguing every shot, selecting the very best, and individually color correcting each clip (but not being offended if you choose to purchase a raw file and do it yourself). It means inspecting each finished product so that you, our customer, can instantly download what you need in time to finish your project without worrying that the footage will be unstable or there will be luminance changes or other flaws that slow you down. And for us, quality also means standing behind what we do and supporting you throughout the process.

We’ve actually been accused numerous times of having footage that’s “too pretty”. We understand. Not everyone’s looking for pretty and perfect. Sometimes it’s just not realistic enough and doesn’t fit the project.

Well, the good news is that we have that, too! We have producers all over the world who provide us with interesting, realistic, unusual footage that isn’t always “pretty” – and they’re very good at it! They use a wide variety of cameras, from HD cams on up. They travel to unique places and have rare opportunities to capture real life. Many of these producers also supply us with “pretty” – but some are great shooters of “just what I was looking for!” And because supporting you is part of our definition of quality, we stand by all of our footage to ensure its usability.

What’s your definition of quality?

Storage Wars: The Search for Inexpensive Yet Reliable File Storage

Bob_2013By Bob Hayes, Artbeats Director of Technologies

Here at Artbeats, our storage needs are a little different than might be customary for a video production house. We don’t do much long form editing and we don’t need 450MB/s to several editing bays. What we do need is massive, reliable online storage available across a LAN via AFP, NFS, and SMB. Easy enough to do, but it can get very expensive very quickly if you aren’t careful.

The safety and availability of your data and your backup strategy is insurance, pure and simple. And just like house or car insurance, it requires a cost to benefit analysis in order to decide what you need and how much money you should spend. In an industry like finance or health care where the security, availability, and government regulation of the data are all very high, you will probably spend a lot more money up front ensuring the reliability of that data and the speed with which you can restore the data in the event of loss. If you lost critical data, how long can you withstand the non-availability of that data? Nobody wants to deal with lengthy downtimes, especially when it’s revenue-generating data. However, sometimes the relatively small possibility of that catastrophic event occurring outweighs the front-loaded money you must spend in order to get the peace of mind that comes with knowing you can restore your data in a matter of minutes or hours (at worst), versus days or even weeks. This is the kind of analysis that IT managers make all the time, and we place bets on the outcome. Exactly like insurance company actuaries do.

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At Artbeats, we recently had a situation where we simply needed more server space for data that was important, but not absolutely mission-critical. Essentially, if this data disappeared one day, it was already duplicated elsewhere and we would be able to recover back to where we were within a matter of days. Perhaps not the most optimal situation, but one where we decided we could spend less money than we might spend in other situations. In the storage arena, there are high-end RAIDs with lots of great features and mind boggling prices and there are lower end solutions that may or may not do the trick, and then there’s a good selection in the middle—massive storage for a relatively moderate (but still fairly expensive) price. We decided on a lower end solution, one of the “lowest” that we’ve ever done. I’m not going to mention specific manufacturers for a variety of reasons, but a little Googling on your part and you should be able to figure out what brands I’m talking about.

We thought we knew right away what we wanted, but after some research we changed our minds on our initial choice of vendor. We ended up with a box that is quite different from anything we’ve used in the past. It’s a self-contained network attached storage (NAS) device that also supports iSCSI, complete with built in server daemons for a variety of purposes, most of which we’ll never use. (We just wanted file servers.) This box cost us about $1000. I had some misgivings because it’s not rack mountable and has very limited redundant uptime capabilities, not to mention it’s made with a lot more thin plastic than I would usually like. But I have to say, I’m impressed with what we got for the price. It has eight SATA drive bays that support drives up to 4TB, a very smart RAID system, and it’s expandable to eighteen bays. Plus, it’s quiet—scary quiet. If it wasn’t for all the blinkenlites, you wouldn’t even know it was up and running by just looking at it. Network throughput is sufficient for simultaneous After Effects renders from four or five machines with no noticeable issues due to network bottlenecks. That’s all we wanted of it.

We populated ours with eight 3TB drives, and we decided on some of the cheapest drives out there ($140 each). So, for about $2200, we got 18.75TB of usable storage space in a hybrid RAID-5 setup that will withstand the failure of one hard drive at a time. We have a standby cold spare on hand, and that’s enough insurance in this case.  It took us about an hour to completely configure it, plus an overnight RAID build. I haven’t done anything to it or even looked at it since then, and it’s been six months. Go ahead and price out 18TB of storage from an enterprise level vendor (usually with names of two or three initials) and you’ll see why we went with this particular item. For this job, it was a great way to go.

 

Merry Christmas from Artbeats

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Artbeats Volunteers at Camp Millennium: Filming A Summer Camp for Kids Dealing with Cancer

By Diane Barrows, Artbeats Executive Assistant to Phil Bates

Artbeats has been privileged to be a part of a great industry for over 23 years. We’ve made a commitment to giving back to the community, not only through monetary donations, but also in sharing our time and resources. For the past few years, we’ve had the opportunity to volunteer as the official film crew for Camp Millennium.

Camp Millennium is a camp for kids who are dealing with cancer in some way. The camp runs a full week and there is no cost to the camper, as it is entirely funded by donations. I’ve been privileged to join Artbeats president, Phil Bates, in capturing footage and creating a DVD that replays the fun the kids experience during their week-long escape.

At the beginning of this shoot, we accepted the realization that we could not control the place, time of day, lighting, or action taking place. We would not be able to say, “Take two” to much of anything except the kids’ personal introductions, and we would not have time to fiddle with camera settings, lenses or such. So, our first obvious choice was about equipment. We chose a Sony EX-1s, a lightweight tripod, and a FigRig to make hand-held acceptably stable. We took a reflector, a zillion cards,  batteries, and a drive on which to copy the precious footage.

Camp M is currently held in the mountains directly above the beautiful Umpqua River in Southern Oregon. A windy dirt road makes its way up to large terraces where a gym, pool, playground, and eventually cabins and cafeteria are nestled among giant fir trees – beautiful surroundings that make for exhausting shooting as you rush up and down hills so as not to miss any activities going on at each location. The 95+ kids participate in swimming, archery, horseback riding, a ropes course and giant zip line, judo, recreation games, art, skits, a day of water games, a dance, campfires and fun meals, and a whole day is devoted to a marathon field trip that includes a trip to the movies, McDonalds, a day of Olympic style games, bowling and pizza. The shooting day begins (after prep, that is) at 8:00 am and ends whenever the last activity for the older kids winds up, usually around 10:30 or 11:00 pm.

The trick was to change our mindset from shooting stock video to capturing not only participation in the events, but the anticipation, struggle, joy, trepidation, fun, frivolity, and precious, tender moments that flow out of a week centered on these kids’ camping experience. Being alert at every moment for the little scenarios going on makes you aware that there is a camaraderie among kids with a common problem. They encourage each other to get on a horse or swim across the pool, shout for joy when a timid jumper finally lowers himself off the platform to zip down the hill, and stop dancing to sit with their friend who needs a treatment. They routinely visit the nurses’ station for meds, sometimes with their counselors who are previous campers themselves. They hug, sing, and cry with empathy over the death of friends, relatives, or fellow campers; are enthusiastic, silly, and appreciative. They make kind and appropriate fun of their cool counselors who are always “on stage” and model a looking-for-the good attitude. And, imagine this: they act like, well, kids.

It’s these moments that you can’t “do over,” so whether it’s magic hour lighting or pouring down rain, these snippets in time must be captured for DVD posterity. Our first year at camp, the staff told us numerous stories of campers who have to spend time in the hospital, often in lengthy stays, and how they watch their Camp M DVDs over and over, reliving a time when they just had fun with their friends. The DVD serves not only as a chronicle of the year’s activities, but a reminder of a week of escape. That knowledge fuels our dedication to retelling the camping story – to give them something to remember, relive, and look forward to.

This year, we brought our RED Epic camera along, as well. We limited its use for all the reasons we stated, and daily rain further limited the plan because we just didn’t want to deal with keeping it safe and dry. But a savvy camper/budding film student spotted it, recognized what it was and drooled heavily, encouraging Phil to take advantage of a couple of fun opportunities to bring it out for some slow-motion trickery. One day a downpour brought rain overflowing the cabin gutters, and several older kids volunteered to let the streams of water hit their faces. He also caught a walloping belly-flop by a counselor who created an enormous splash in the pool, and brought the camera out again during the games for events like parachute launching and sack races (races in slow-motion? That’s an oxymoron.) Another day a young animal-lover begged Phil to film her “snail circus,” and recognizing this important gift from a child, he dutifully set up a camera and filmed her lovely snails, up close and personal, much to her delight. But the coups de gras was the short introduction to the Epic camera and some on-hands experience for that budding student, a moment he’ll never forget. And neither will Phil.

What Artbeats hopes to give the campers of Camp Millennium is a fun-filled, tender, hilarious DVD shot and edited by a professional cinematographer who adjusted his focus for a week and who truly cares about a bunch of campers he may never see again in this life.

Somehow the many adults who generously donate their time, effort, energy, and money to a worthy cause create a week of joyous escape for those to whom life has been unfair. What does Artbeats get from our donation? A new lens through which to appreciate the world, and you can’t put a dollar figure on that.

Learn more about Camp Millennium.