Video
- Recently Added
- Popularity
- Name
About 30 filtered results
by William Min · Posted
When Apple introduced M1 Pro and M1 Max chips for the MacBook Pro lineup in 2021, it easily became the best laptop for video editors. The balance of performance and efficiency made it possible for creative professionals to edit high-res videos on the go. Apple has since updated the MacBook Pro lineup for 2023, with the M2 Pro and the M2 Max chips, maintaining its title as the laptop for video editing.
B&H Recommends…
by Mary Latvis · Posted
Grip, electric, swing, and “best boy”... who are these people and what is it that they do on a TV or film set? In this follow-up to my article Who Does What on the Camera Crew?, I outline the duties of some movie and TV crew positions that are not part of the camera crew but are nonetheless essential to the process of cinematography.
Above Image: Electric adjusting light
These on-set crew positions are given as a general outline, not a
by Steven Gladstone · Posted
Syrp, creator of lightweight yet stable support systems for DSLR and mirrorless cameras, has focused on creating motion-control systems and sliders that are simple to use, helping you to create complex still photo image sequences and motion-controlled video easily.
Motion Control, from Simple to Complex
Start with the Genie II Motorized Pan/Tilt Head to create dynamic pan and tilt movements, with 360° of pan and 180° of tilt,
by Steven Gladstone · Posted
While a great deal is made of shooting with large-sensor cameras, for valid reasons, I thought it would be prudent to consider smaller-sensor cameras, especially in the ENG/camcorder form factor. All too often these cameras are overlooked, and they really should not be. The ENG camcorder developed from a need for an all-inclusive camera that was rugged and easy to transport, which dictated a camera body with integrated tape drive―now SSD or Media card―and a lens port so you can add the lens of your choice or, for an even smaller shooting
by Steven Gladstone · Posted
SHAPE has long been known for its design, innovation, and quality machining, and its recent accessories for the Canon C70, RED KOMODO, and Sony FX3, FX6, and FX9 cameras continue in that tradition. As you consider your accessory purchases, from just a cage, up to fully kitted-out rigs, remember one of the great advantages is the lifetime warranty on all of SHAPE’s CNC-machined gear. Additionally, most of the components found in the rigs are designed to be used with multiple cameras, essentially since they’re universal components that you can
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 Jill Waterman · Posted
Hybrid creator Jason Vong credits friends from school with helping him cultivate the storytelling abilities that are the driving force behind his thriving YouTube channel, as well as his talent for wedding videos. Vong’s insightful reviews of the latest gear and his expertise with Sony cameras have earned him a devoted audience of nearly 250,000 followers to date, leading us to connect with him as our next B&H Creator of the Week.
In our conversation below, Vong reminisces about his
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 Mary Latvis · Posted
The video camera baseplate—such a basic, humble camera component yet so important to a smooth shoot. Few moments are as aggravating to a camera operator or assistant as struggling to mount their camera with a baseplate that is not quite functioning. So, are high-end, cine-style baseplates worth their weight in gold? While some systems may be close to the current cost of an ounce of gold, luckily there’s no comparison pound for pound. Read on for reasons why high-end plates are worth it.
ARRI BPS-2 Bridge Plate Set
Baseplate Basics
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