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6,130 Views· Posted
Color grading is an essential part of the modern post-production workflow, especially with log gamma profiles and raw video recording more accessible than ever before. But for those new to the game, diving head-first into color grading can be a bit overwhelming. In the following video, Doug Guerra, from B&H, eases the processes by covering the basics, including the difference between color correction and color grading, required tools and software, and technical terminology, as well as some more theoretical considerations. We hope you enjoy
by Steven Gladstone · Posted
Way back when I was in college, a young director came to speak to my class and share his experiences with making, for the time, a moderately budgeted film. Nearly 30 years later, I can still remember him saying that a location day costs $150 a minute. That meant arriving on set, walking over to craft services, and getting a cup of coffee—cha-ching! $150. Drinking the coffee—cha-ching! That’s another $150 (think about that the next time you get a Grande, iced, sugar-free, vanilla latte with soy milk at Starbucks.) That comes to $9,000 an
by David Adler · Posted
Once touted as a headlining feature on only the highest grade digital video/cinema cameras, such as the Sony CineAlta line, log (logarithmic) recording has become a mainstay on more affordable professional products, such as the Canon EOS-C series, and more accessible through prosumer products like the Sony α-series mirrorless cameras. One of the reasons log recording has become so prevalent is that it is often associated with the idea of better image
by Steven Gladstone · Posted
What many people may not realize is just how important the A.D. department is to a production. In the following article, I interview three past and present Assistant Directors about the role of the AD on a film.
Tempus Fugit
A good AD can keep a production moving along, accomplishing the day’s work, while allowing the director to get not only the minimum number of shots they need to tell their story, but also the additional shots that flesh out the film.
Steven Gladstone: When I was doing a lot of production work, I would refer to the AD
by Justin Dise · Posted
For many video shooters, a single camera is often enough. If you’re one of those people who finds this to be true then, by all means, feel free to skip this article. But if you’re someone who works with multi-cam setups or is thinking about picking up a second (or third) camera to supplement your main camera, then please keep reading. There are many things to consider when selecting a “B” camera, and while you could easily just purchase an identical model to your main camera, this isn’t always affordable, nor does it give you the opportunity
5,906 Views· Posted
Cinematographer Randy Scott Slavin discusses his experience being a DP using drones, with B&H Prospectives. He explains how he got into drone shooting, beginning with a skateboard video, and puts into perspective the reservations many people have about drone safety. Slavin also offers tips on getting great shots all while keeping crew and bystanders safe. We hope you enjoy the video, and invite you to view the wide selection of other instructional and informative videos at BandH.com.
by David Adler · Posted
by Justin Dise · Posted
Vlogging—or video blogging—is becoming more popular by the day, with seemingly everyone seeking to become the next YouTube sensation. You may be thinking that with the right subject matter and your winning personality, stardom is right around the corner. And who knows—maybe it is! But if you’re really going to give it a go, then you’re going to need a few essential pieces of gear to get your vlogging career up and running, and looking good. I mean, let’s face it: viewers are brutal. Bad audio? Dislike! Lousy video quality? Double dislike! So
by Justin Dise · Posted
Movcam follows up its well-regarded a7S Cage with a new Cage, designed to fit the Sony a7 II series camera bodies. Serving as the foundation point of your rig, the form-fitting camera cage provides a durable aluminum frame around your camera to protect it from bumps and bruises while shooting, while adding the necessary attachment points to build up your rig.
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by Steven Gladstone · Posted
First, congratulations. You’ve finished your film. It is edited, color corrected, scored, mixed, and you’ve added the credits. Plus, you’ve already found the venue for your cast, crew, friends, and family screening. What is next? Well, that depends on you. Are you ready for the next step? Which to choose: festivals, distribution—both?
Festivals
Festivals are a great way to meet other filmmakers, and there are a lot of festivals; more than I can count. But, before you send out your film or script, do your research. Make sure what you are
by Steven Gladstone · Posted
A critique is one of the most powerful tools that can help a creative person grow. And it isn’t just a matter of getting a critique of your work that can be powerful; learning to deliver a critique well can also help you improve your own work.
What is important to understand is what a critique is and what a critique is not. A critique is a carefully thought-out response, and not an opportunity to attack someone because you don’t like their work. Similarly, if you ask someone to critique your work, understand that you are asking them to invest
7,280 Views· Posted
In the following video, Chase Kubasiak, from Zacuto, gives the lowdown on shooting with multiple cameras, offering tips and techniques to make your next multi-cam shoot easier. Covering topics including camera matching, syncing, coverage, and editing, the solutions presented in the video can be applied to a variety of multi-cam styles, including interviews, concerts, and narrative films. We hope you enjoy the video, and invite you to view the wide selection of other instructional and informative
by Steven Gladstone · Posted
Before the rise of the anarchy of digital video, analog video was ruled by engineers at virtually every step of production, post production, and delivery. There were rules that had to be adhered to very strictly to ensure that your footage met the technical requirements of broadcasters. Remember, NTSC was instituted in the 1940s, (PAL appeared about a decade later). So, making sure that your video would display properly on every television required a fair amount of control. Additionally, there were limitations within the capability of analog
by Ronald Francis · Posted
Shave an inch from the thickness of the Switronix HyperCore battery, and you’ve got yourself the HyperCore Slim (14.8V, 82Wh), designed for UAV and gimbal applications, suitable for any application demanding a low-profile battery, and TSA-friendly.
You may be familiar with the original HyperCore, a workhorse capable of handling 10A draws. It’s suitable for up to the most advanced cameras, and is one of the options relied on by professionals, like Andy Casagrande, who
by Steven Gladstone · Posted
Atomos announces two 7" on-camera monitors/recorders that feature HDR, 10-bit panels, and 1500 nit brightness: the Shogun Flame and Ninja Flame. Improving on the field-tested Shogun and Ninja Assassin, while retaining their familiar form factor, interface, and recording capabilities, the