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above: Chicago-based AD Stephanie Clemonsby featured blog contributor, Jeremy PinckertAs the Velvet Underground famously sang, “I’m Beginning to See the Light.” Or at least a recent project I was slated to Direct forced me to turn my eyes even more towards a light to which I’ve already been headed. Irregardless, now that I’ve had a look? I ain’t ever going back. Our client, Go RVing, needed a wide-range of marketing video content for Broadcast and Web use, and they brought me in to direct a 4-day shoot on Michigan’s West Coast. The first day was all interviews with actual users telling their unscripted stories to camera. The second and third days involved shooting eight different scenic broll situations with 20+ talent members in various camping situations. The fourth day was a practice in planning, logistics, and highway patrol as we shot seven vehicles on a large stretch of a US highway, through rolling vineyards and driving on wooded country roads.

As with any horror film, the end result once it hits screens is absolutely jaw-dropping, bone-chilling and more. But what happens behind-the-scenes? Cue DP, Dan Kneece, and the rest of the production team. We spoke exclusively with the the Director of Photography to find out just what it takes to bring a horror film to life.

by featured blog contributor, Jeremy Pinckert I recently needed to prep for a shoot where we had to match RED ONE 4K footage from 2010. The discussion came down to which 4K camera to use for this video shoot, and at first I was stuck choosing between the Sony CineAlta PMW-F55, the Canon Cinema EOS C500, and the ARRI ALEXA camera systems. Read further to follow our thought process, and see the final results captured by the winning camera system!

by featured blog contributor, Jeremy PinckertYou’ve collaborated on the storyboards, you've charmed on the conference call, you've nailed the pitch, and now you've won the job! It's Monday morning, and for once you're actually looking forward to making the harrowing commute...Starbucks is pulsing through your veins and you're ready - no you're stoked - to embark on that big-brand TV shoot. And then your phone interrupts your pump-up music on the BPM channel. Your apologetic producer is on the line and gently breaks the news: you don't have the money in the budget for that gorgeous steadicam shot you built into the boards. The steadicam shot that left you so inspired to direct this project in the first place. The buttery smooth eye-pleasing delicacy you were going to build your reel around. Options quickly flood into your brain: You could cash in the 401k, or even worse, call in favors from those famously curmudgeonly, hard-working steadicam operators just to get a shot like the famously long, intricate, and beautiful steadicam shot in Martin Scorcese's "Hugo" below:

Trying to find the perfect lighting product or angle when on set can be a challenge, and making sure everything looks crisp on screen is an obvious essential. With so many lighting products out there, we had to find out why Nila LED lights are the go-to lights in our industry. We were able to catch up with industry lighting pro and President/CEO of the company, Jim Sanfilippo, who shares some pretty good reasons as to why their lights rock. Which lights do you prefer to use on set?

Lilly Singh is a comedian, talk show host, and actress, who rose to fame as a YouTube star in which she chronicled her thoughts and daily activities. In 2019, replacing Last Call with Carson Daly, NBC released A Little Late with Lilly Singh, which recently started its second season. Ditching the traditional television studio, the daily half-hour talk show is produced at a house in Los Angeles following production protocols and safety guidelines relating to the COVID-19 pandemic. The show is shot by Director of Photography Carissa Dorson (It’s a Party, CollegeHumor) with a mix of AU-EVA1, LUMIX GH5S, and GH5 cameras.

When Westfield Corporation and Los Angeles World Airports (LAWA) wanted to create promotional videos documenting the TBIT’s transformation and showcasing the new terminal, they required an L.A. based production facility that would deliver on the same level of high quality standards. They turned to Noah Clark, owner of Station22, a full service video production and post production company located in Los Angeles offering scripting, storyboarding, casting, shooting, editing, mixing, voice over, color correction and visual effects.

In this business, it's important to make sure you're getting your name out there. ProductionHUB has helped play an important role in helping me do that as a cinematographer. The ability to bid on jobs has been a great feature, but even better is when a client approaches you because they’ve seen your profile and are interested in hiring you. Instead of a cold email, you’re now getting a direct lead that ProductionHUB did all the work for! Those kinds of leads are great because the client has already vetted your work and is interested in getting a quote from you. This can lead to lasting relationships with new directors, agencies, and production companies.

Why isn’t Cine Gear Expo LA on your go to destination list this summer? Cine Gear Expo LA (which will run from June 1st- 4th at The Studios at Paramount, Los Angeles) is a celebration of filmmaking — and who doesn’t want to be in on a celebration? Of course, there is always something to be said about finding that great location too, and The Studios at Paramount definitely checks that box.

Just starting out in the world of production and not sure where to begin? A lot of people new to the industry (or "green" as we sometimes call it) get their feet wet as a Production Assistant. This is a great way to gain on-set experience while exposing yourself to many different facets of production so you can decide which areas you gravitate towards and may want to pursue. PA's are often asked to wear a lot of different hats. So what makes a good PA?