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Posted
Doug takes to the floor of NAB 2025 to share new details on the FUJIFILM GFX ETERNA, the Blackmagic Pyxis 12K, and Sony's Venice Extension System Mini.
0:00 - FUJIFILM GFX ETERNA
2:50 - Pyxis 12K
4:45 - VENICE 2 Extension System Mini
7:30 - Final Thoughts
by Shawn C. Steiner · Posted
Netflix is the streaming service. Many others have challenged it and many are doing well. Still, no one compares to the size of Netflix, or comes close in terms of outputting original content. As such, the camera technology decisions they make matter if you want to get a strong deal with the streaming giant for the new film or television series you’re shooting.
“Netflix approved” means that cameras have the minimum specs required to ensure the expected quality of a Netflix Original. While it shouldn’t be your only guide when purchasing a
by Shawn C. Steiner · Posted
With firmware version 2.0 out, the Sony FX3, a compact cinema camera, now has all the capabilities required for the “Netflix approved” designation. The reason for this certification was
Posted
Here are four things you may not have known about the DJI Ronin 4D camera-and-gimbal combo. Not to be hyperbolic, but this camera is pretty revolutionary!
Click to watch our hands-on review of the DJI Ronin 4D.
Are you excited to try the DJI Ronin 4D? Let us know in the Comments section, below.
by Shawn C. Steiner · Posted
After a lengthy wait, Sony unveiled the a7S III, satiating years of desire for an upgraded king of mirrorless video. The release itself wasn’t so much of a shocker, even if the specs were top notch—perhaps even beyond expectations. However, the surprise came when just a short time after, Sony lifted the curtain on the
by Mary Latvis · Posted
Looking to outfit your camera for cine-style shooting? Wooden Camera has you covered with a range of plates, cages, and other pro components released in 2021. Read on to discover a nifty monitor bracket plus a host of components designed expressly for popular cameras from Blackmagic Design, Canon, Panasonic, and Sony.
The latest crop of Wooden Camera components features the easily adjustable Ultra Quick Release Monitor Mount
by Steven Gladstone · Posted
Posted
Go behind the scenes on our team’s latest video production as they try the Z CAM E2-S6 with the Atomos Ninja V. Doug Guerra shows you his ProRes Raw workflow for filming and color grading, and he also compares the E2-S6 to the
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