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This article describes a comprehensive dailies workflow that can make life simpler for the editor and the sound mixer, while maintaining the highest quality. Why does it matter? While our various video post applications have gotten much better and deal with large files and many takes quite well, workflows are still the glue that brings it all together.

SmallHD, known for compact, full HD on-camera monitors is giving away a free set of color grades that recreate the unique look of seven different iconic films, and are also publishing multiple video tutorials explaining how to get the most out of these looks during both production and post production-all 100% free of charge to anyone who wants to download them.

In our latest interview, we spoke with Jay Visit (Turning Point: 9/11 and the War on Terror) behind They Call Me Magic, which is currently streaming on Apple TV+. The docuseries gives an exclusive look into Earvin “Magic” Johnson’s life, including how he left his mark on history through his work and how he continues to impact our culture today.

Users are demanding more from their devices these days. Production monitors are no exception. When filming his latest project filmmaker Alan Stockdale turned to the Atomos Sumo19 HDR production monitor not only to view the image but also record it directly from his Sony FS5 in Apple’s exciting new ProRes RAW format.

Live video production via IP, and specifically over the Internet, is transforming the content consumed by the public, offering producers an array of new workflow options that were unimaginable even a few years ago. There has been a recent influx of video conferencing tools like Zoom, WebEx and others, being used on a daily basis for traditional broadcasts by major TV networks. The ability to "bring in" remote presenters, guest speakers and international contributors are rapidly transforming not only the traditional broadcast market but also the educational, religious, and government production workflows. The presence of live feeds became an integral part of everyday content regardless of distribution, OTA, OTT, or via social media on the web.

From drones to virtual reality, new advancements in 4K technology and more, 2016 has proven to be quite a big year for the industry. But just what do experts predict for 2017? What will change? What will remain the same? We asked a few top experts in their opinions.

The moment many of us had hoped for is finally here. With the restart of productions, new cameras and important upgrades seem to be popping up all over the place. Yes, the production landscape continues to be changing and I don’t think we are done yet. In part one, we will explore four cameras that have captured quite a bit of interest over the last couple of months. Part two will cover some of the incredible gear that is emerging in 2021 . Check it out!

Remember that time that you and the team worked for three whole days and nights to hit that impossible deadline? No? Selective memory?You tried to forget? Your clients didn’t. Remember that exact moment it all crashed and it all went to sh*t because you didn’t back it all up to a nice big fat storage platform cause you would “do it later when we had time?” Well having been there, I can tell you it might be one of your worst professional moments ever. Ever… Lets hope that you NEVER feel that way. It is possible. Check it all out…

As we continue to navigate COVID-19, and the status of a virtual NAB, we thought it might be helpful to create a post with all of the latest news from industry leaders. Check back regularly for updates! Have something you'd like us to include in the post? Email blog@productionhub.com.

by featured blog contributor, Jeremy PinckertMost Super Bowl ads are exquisitely planned, taking months of pre-production involving the best creative minds in the business. They also are blessed with stratospheric budgets. But what happens when your client calls you to produce something for the big game, and it’s only weeks away? Put down that Ambien, there’s no need to fret - this survival guide can help you rise to the challenge! The University of Notre Dame found out they needed an “institutional message” to air during college football’s BCS title game. This title game was expected to draw over 30 million viewers, becoming the highest-watched sports game in history outside of the Super Bowl. We received a call to see if I could direct the crew and if my company, Explore Media, could produce the entire spot. The caveat? This happened on a Tuesday morning. They needed to shoot by Friday of the same week! If we wouldn’t have had the background tips I’m going to share in this guide, I don’t think there’s any way we would’ve achieved the results.