35 blog posts found matching keyword search for: Grip Equipment in Abilene
Pro sports shoots are always fun to be a part of. Especially when you get to be in the same room interviewing your favorite athletes! Assignment Desk Camera Operator and Grip Paul Critzman III was lucky enough to work as a grip on a pro sports feature interview. Critzman has several tips to share on what makes a good grip.
It’s a lasting dilemma for film crews, production houses, and freelance camera people: Do I buy camera equipment or rent gear on a case-by-case basis? You may purchase the latest and greatest only to find it sitting on the shelf when the next best thing replaces it a month later. We talked to Pierre Habib of Dunia Films to take some of the mystery out of renting camera equipment.
Don’t wait until post-production to solve problems that should be addressed in pre-production. Hasty planning can often result in expensive reshoots. Making sure you have the right gear on-set can save you precious time and money. Of course, you’re going to put a lot of thought into the technical aspects of your production, like which camera, lighting kits, and sound equipment you’ll need. But when you’re planning your movie equipment rental, it’s essential to consider the accessories that will complement such gear. According to many crew and producers whom we’ve worked with over the years, renting the following items often resulted in the smoothest productions.
Over the last couple of years, I have been very fortunate to test and evaluate many different types of cameras. From full-size 8K to specialized miniature POV units putting different cameras to the test is always interesting and a lot of fun. In this review, we are going to be taking a look at the Panasonic AG-CX10. The AG-CX10 is said to be the little brother of the Panasonic AG-CX 350. In either case, both are excellent choices for people that need a good amount of features that allow for a quick start-up, getting the shots you need, then scramming out of harm's way. But before I get too deep there are a couple of the things I try to keep in mind when reviewing gear. Who is this camera for? What might they use it for? Will it be a good fit and a good return on investment?
Traveling or moving with filmmaking gear poses numerous challenges. To avoid misplacing or damaging your equipment, there are many things to keep in mind. Our tips will help you safely pack and transport your filmmaking kit, wherever you are heading.
For me personally, I actually got into this business out of being a gear head. As a kid I always collected things like comic books, card collections, and even stamps. Don’t tease me for that last one. There was a huge sense of pride as I was acquiring, playing with, and caring for these collections. Back in college when I became more serious about shooting video, the idea of collecting camera equipment was no different. A sense of excitement overtook me as I added another lens, pelican case, or light. Each piece of gear not only allowed me to learn a new technique, but it offered me a new creative experience too. Years later when I started Image Brew, I fortunately learned early on that owning equipment allowed me to be more flexible and billable by offering different options and tools to my clients. But we’ll get back to that later.
James Mathers with the Digital Cinema Society shares his thoughts on the recent DCS Lighting Event, along with special guests, exhibitors, images from the event and more.
I'd like to take a couple of minutes to run down a few tips for new location sound mixers. These are observations learned in over more than 30 years in both broadcast and location sound. These are not technical tips. Rather, they are lessons that I've received that made me a more professional, team oriented and in demand mixer.
Many factors affect the final result of your composite chroma key. By making the right technical and creative choices ahead of time, you can avoid costly mistakes both in time and money! Avoiding these pitfalls can make your key look natural and realistic, unlike what you see typically on your local weather newscasts.
Do you know how to light when shooting at up to 80,000 frames per second?Learn from Matt Drake and his DP Matt Novello, the team behind Bullet Theory Films. They recently shot a commercial for Sinter Fire Bullets’ frangible ammo. The team wanted to avoid using CGI effects, so they chose to shoot with the Phantom v711 at extremely high frame rates (up to 80,000 fps) to capture the live bullets.