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by Zack Young · Posted
You sit down with your cinematographer to prep for an upcoming shoot and they pitch you the idea of using vintage glass: “Wait until you see the character, the bokeh, the highlight falloff!” Sounds good to you, right? So, you pull out your laptop, click over to your favorite camera equipment rental site, pull up the catalog of vintage lenses, and, upon glimpsing the average cost of a Canon FD rental, immediately fall out of your chair. OK, maybe the Canon K-35s are cheaper. Nope, actually they're even pricier. Same goes for Contax Zeiss, Zeiss
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Tyler Edwards shares five tips on how to film an interview. You'll learn his interview lighting techniques, his camera placement, and audio tips too.
0:00 Intro
0:11 Key Light
0:44 Background Light
1:44 Camera Position
2:41 Clean & Clear Audio
3:29 Timecode
4:16 More from Tyler
by Mary Latvis · Posted
Video-production monitors can offer a dazzling array of features with price tags running the gamut (no pun intended) from several hundred dollars all the way up to the price of a new car. So, while your budget will understandably be a primary consideration, what else should you look for in a monitor when setting up your editing system? Read on for some general factors to consider when choosing a video-editing monitor.
1. Screen Size
Look for a monitor large
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Digital creator Told by Nick shares five techniques that will level up your top-down video.
0:00 Intro
0:15 Focus Area
0:38 Flat Lay
1:07 Lighting
1:58 Focal Length & Aperture
2:37 Lens Breathing
by Zack Young · Posted
For decades, classic three-point lighting has been the conventional approach to lighting most sit-down interviews in film and TV. While this type of lighting looks nice, it can feel stale at times. By mixing up the lights you use and how you place them, you can shake up your cinematography game and shoot visually dynamic interviews that keep viewers engaged. In this article we’ll explore three unique ways to light your interview subjects, so they pop
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There’s pros and cons for shooting video handheld or with a stabilizer, but which do you choose? How do you get smooth, steady footage? Sidney gives you a beginner crash course on filming handheld and with a gimbal stabilizer.
0:00 - Intro
0:45 - Filming Handheld
1:46 - Filming with Stabilizers
2:40 - Handheld Best Practices
3:34 - Gimbal Best Practices
4:31 - Final Thoughts
by Zack Young · Posted
While camera gear continues to shed weight, a similar shift has taken place amongst camera crews as well. Mid-range and lower-budget shoots that used to require at least four to eight people now frequently include a crew of just one to three, each with more responsibilities than ever before. The cinematographer often acts as their own grip, gaffer, DIT, loader, and assistant camera, while the director is also an interviewer, producer, hair and makeup, the art department, the audio mixer, and sometimes even the caterer.
While you might feel
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What makes Anamorphic lenses and their "look" so iconic? What is a squeeze ratio, and how do you desqueeze in post? Jabari explains all that and more in this crash course on anamorphic lenses.
0:00 - In This Video
0:28 - A Brief History
1:37 - Anamorphic Characteristics
4:20 - Anamorphic Pre-Production
7:37 - Anamorphic Post-Production
8:29 - Anamorphic vs. Spherical Footage
11:23 - When & Why Use Anamorphic Lenses?
by Zack Young · Posted
Compact mirrorless cameras have revolutionized the video world, packing massive sensors into small bodies and making professional-level production accessible to budget-minded creatives. Aspiring filmmakers can now achieve a level of visual detail, color fidelity, and exposure control that previously could only be achieved with cameras that cost six figures. But that doesn’t mean these devices are perfect. Their smaller size comes at the cost of a variety of physical features and ergonomic advantages that are standard in larger cinema camera
by Steven Gladstone · Posted
Mirrorless cameras are small, light, and can get into spaces traditional cinema and ENG cameras just can't. However, mirrorless cameras are not meant to work on a film set all day long—it just isn't in their ergonomics. This is especially true if you are planning on handholding a camera all day, or working with accessories such as follow focus units, zoom motors, or external monitors.
Build Your Own or Pre-Made
You can build your own support rig, if you like. Head out to your machine shop and have at it. But, most likely, you lack the milling
by Stepan Andranikian · Posted
So, you have got yourself a nice sizable venue―it could be a stadium, concert hall, or house of worship―and you’d like to outfit it with a multi-camera setup that can be controlled easily, all by one person. In comes the Pan-Tilt-Zoom camera, a.k.a. the PTZ. PTZs are a subset of robotic cameras that are intended to be operated from a distance, typically from one controller. Today, we’ll be discussing how to construct PTZ setups at their basic configuration, and what you’ll need to know to assemble your very own fully functional system.
by Zack Young · Posted
Enter the Sony BURANO 8K Digital Motion Picture Camera, Sony's newest jack-of-all-trades cinema camera that aims to combine the best features from the company's CineAlta, FX, and Alpha lines. Part of its versatility comes from the array of recording formats and resolutions it can capture, as well as a physical camera body that can accommodate a range of accessory options. So, what recording modes should you be using and how
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If you’re shooting video but you’re a one-person crew, cinematic shots are still possible! YouTuber Jacky Li shares how to better film yourself with these 5 creative techniques.
0:15 - Bird's Eye
0:44 - First Person POV
1:13 - Creative Movement
1:38 - POV Kit
2:08 – Mirror
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Full-time filmmaker Alex Romo creates epic travel videos. You'll learn his secrets to storytelling, including making a shot list, scripting, adapting to changes, and more.
0:00 - Intro
0:40 - Storytelling & Shotlist
2:02 - Coverage
2:58 - Adapting
3:35 - Itinerary & Producing
4:53 – Community
by Zack Young · Posted
So you just signed up for another corporate documentary shoot for another tech company at another local high-rise. They don’t want you filming in their super-secret proprietary lab and they’re definitely not flying you to China to see where the products are made, so you’re stuck in a cube farm trying to scrounge up useable b-roll for your interviews. Fear not. With some thoughtful planning and a little bit of ingenuity, you can get enough clips to make your piece shine.
Have I done my prep?
Fortune favors the prepared mind, which is why the