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by Zack Young · Posted
So, if a PTZ camera is basically a camcorder on a robotic head, why not just buy a camcorder and a robotic head? And why would you choose PTZ cameras over mirrorless cameras that have unique interchangeable lenses with shallow depth of field? Let’s discuss.
PTZ (pan-tilt-zoom) cameras have been around for decades, but their recent surge in popularity has greatly expanded the number of people who are considering adding them to their
by Jordan Gallant · Posted
When we consider uses for the PTZ camera, we often think of lecture halls and houses of worship where you might want to “set it and forget it.” There is also their ability to bridge the gap between remote and in-person participants in collaborative workplace settings. But the reliability and intuitive setup of PTZ cameras also offer advantages in more creative spaces, such as hybrid live events. A reliable name in professional cameras,
Posted
Doug Guerra shares a brief overview of PTZ (or pan, tilt, and zoom) cameras and how to incorporate them into your video production.
0:00 - Introduction
0:43 - What Is A PTZ Camera?
2:06 - PTZ Camera Setup
4:26 - How to Add a PTZ Camera to Your Production
7:29 - Final Thoughts
Click to learn more about Canon PTZ cameras and let us know how you plan to use them in the Comments section, below.
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, filmmaker Alec Kubas-Meyer gives us a behind-the-scenes look at a video review of the 2018 thriller, Searching. Because the film takes place entirely on a computer desktop, Kubas-Meyer deviated from his usual review technique and chose to mimic the visual style of the film itself. So watch and follow along as he shows his filming setup, and how he accomplished his result.
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, skydiver and aerial cinematographer Laszlo Andacs discusses the possibilities and the challenges of camera work while jumping out of airplanes. The piece is illustrated with breathtaking aerial sequences that capture the beauty and technique of aerial cinematography as the cameraman hurtles toward the ground with cameras mounted on his helmet. You can see footage of jumps and the preparation behind them as Andacs and other cameramen capture various projects, such as Anthony Flammia's music video "My Life
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, visual effects supervisor Adam C. Sager discusses how the team behind the 2018 Tribeca-selected, stop-motion animated short film, Two Balloons, utilized green-screen compositing to isolate and combine various shot elements together into seamless compositions.
Writer/Director/Producer: Mark Smith
Animation Director: Teresa Drilling
Art Director: Kathleen Chamberlain
Director of Photography: Reijean Heringlake
Motion Control Operators: Mark Eifert, Jim Birkett
Special Effects Supervisor: Javan Ivey
by Steven Gladstone · Posted
The filmmaker behind Learning to Drive, Roderick Stevens, shares his thoughts on his film and filmmaking.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Roderick Stevens: I’ve worked in the film industry in some capacity or another for just shy of 30 years. I moved from a small town in southeast Arizona to Los Angeles, in 1990, to attend the since defunct Film
by Steven Gladstone · Posted
In the segment of Show Us Your Shot, Director Roderick E. Stevens and Cinematographer Daniel Gonsalez, in an effort to accentuate the grounded reality of their hero's journey in the latter half of the film, chose to mix shooting styles and formats, including Super 8 film for the opening flashback scenes, 4k RAW (on a Sony F55) for the first half of the roadtrip with the two brothers, and 35mm (Arricam LT) once protagonist Michael steals the car to embark on his own adventure. Both larger formats were captured with vintage, Todd AO, anamorphic
by Steven Gladstone · Posted
Steven Gladstone: You wear many different hats—writer, producer, director, actor, etc. Do you go by Filmmaker, or is there a distinction?
Gregory Blair: If I’m relegated to a single label, I use “Entertainment Professional,” because it is generic and inclusive enough to represent my writing consulting, TV, and theatre work in addition to my various roles in the film industry.
SG: How long have you been working in the industry, and how did you get started?
GB: Seems like forever, but I didn’t really start until I was in my twenties and, despite
by Steven Gladstone · Posted
Making a complete film that lasts only a minute takes far more time to shoot and edit. Kelly Murray and Hillary Hanak opened up to me about what was involved in making the one-minute-long horror film, 3:13.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Kelly Murray: I've been working in film for seven years, since 2012. Growing up, I was involved in the arts and was a strong writer, so I studied English literature and writing at college. I was, however, involved in the University's student
by Steven Gladstone · Posted
I had the opportunity to catch up with Jillian Bullock, the filmmaker and creative force behind A Sense of Purpose: Fighting for Our Lives, and she shared some thoughts on making the film and the filmmaking process in general.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Jillian Bullock: I’ve been in the industry since 1991 when I graduated from La Salle University and got an internship on the set of Spike Lee’s movie, Malcolm X.
SG: Did you go to school to learn about filmmaking?
JB: I went to
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, filmmaker Jillian Bullock filmed a scene in Fairmount Park, in Philadelphia, in the summer: “We headed out early to beat the heat, but we had a problem with the DJI Ronin Gimbal, which wasn’t cooperating. This meant we had to do more takes of the scene. I made sure we had plenty of water bottles available for cast and crew. More care was given to the lead female actor, Tamara Woods, who was pregnant at the time. We kept taking breaks in order for her to hydrate and get a little rest. I told her to stand in
by Steven Gladstone · Posted
The filmmakers behind Clickbait, Michael Epstein and Sophia Cacciola (collectively Filmmakers), share some thoughts on their film and filmmaking.
Steven Gladstone: How long have you been filmmakers, and how did you get started?
Filmmakers: While we’ve each had a lifelong interest in film and filmmaking, we really started out being dedicated to music and songwriting. We toured in many bands over the years and, around 2008, we decided that we really
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, filmmaker Sophia You, Executive Producer Samantha Tan, and Creator Jenna Lam guide us through the filming of an episode of Ambitious, a web series about an Asian-American girl who cannot seem to find a place where she feels she belongs. In the final scene of the series’ finale, she placed the two main characters inside a frame within a frame to suggest that they cannot escape the situation in which they find themselves and must draw closer to each other, literally and metaphorically, to have an honest
by Steven Gladstone · Posted
In the segment of Show Us Your Shot, Director Roderick E. Stevens and Cinematographer Daniel Gonzalez explored a few options for safely capturing the driving scenes in this road movie, including using a 70" LED TV as a background, before settling on green screen for compositing. This also freed Stevens up to manipulate the art direction and color grading further to create a contrast between the heightened, almost surreal first half against the familiar reality of the latter half.
Roderick Stevens’s Bio