In Review: Sony BVM-E171 Professional Video Monitor

Equipment / Tech Reviews Tuesday, February 19, 2019
If you're like me, there's something to be said for using and trusting a great monitor. You know the kind of monitor what I am talking about. That one monitor you know is always right on the mark. That one monitor that reveals everything that you need to see in order to frame a great shot or to correct a not so great shot.


Sound Designing and Mixing Immersive Audio for MEGAN

Exclusive Interviews Friday, February 15, 2019
As recently as a couple of years ago, it was generally thought that immersive formats such as Dolby Atmos can only be used on big studio productions. Now, this is not necessarily true. Here’s a story of how a short passion project grew into a full-blown Hollywood production and how using Avid Pro Tools native support for Dolby Atmos allowed us to push the boundaries on a proof of concept.


Live Sports Production is on the Rise

Exclusive Interviews Tuesday, February 12, 2019
There is no doubt about it: a lot of people love to watch sports. Viewership for the NFL alone was up 5% in 2018. That rising number also translates into increased production opportunities for all of us. But who is booking these productions and how are they getting the job done?

Oscars 2019: Skye Fitzgerald Talks Oscar-Nominated Documentary Lifeboat

Exclusive Interviews Tuesday, February 12, 2019
Lifeboat, the Oscar-nominated documentary short, is a sobering examination of mass immigration. It tells the harrowing story of refugees who attempt to cross the Mediterranean Sea from the northern coast of Africa. Director Skye Fitzgerald and Producer Bryn Mooser follow a rescue team from the German non-profit Sea-Watch, which helps carry refugee boats off the coast of Libya to safety. ProductionHUB member Skye Fitzgerald gives us a behind-the-scenes look.

In From the Cold — The Tools I Used Shooting the Indie Movie: The Windigo

Equipment / Tech Reviews Monday, February 11, 2019
Ask a Filmmaker of any stature, and they will tell you that they never have enough resources (time, budget, equipment), to devote to any project. It’s certainly true for me shooting indie (read: low budget) features. However, for better or worse, it is an area of the business I’ve come to be known for, movies with budgets between half a million and five million dollars. Over a 40+ year cinematography career, I’ve learned a lot of tricks to squeeze maximum production value and good looking images out of meager budgets, making dimes look like dollars on the screen.

5 Questions with ARRI’s Art Adams

Exclusive Interviews Friday, February 8, 2019
Art Adams has worked as a director of photography for over two decades, focusing on commercials, branded content, visual effects and much more. He also served as a technology consultant for companies including Sony, Canon, Element Labs, Sound Devices and more. Adams joined ARRI in December 2018 as Cinema Lens Specialist based out of the Burbank, CA office.