235 blog posts found matching keyword search for: Camera Crew in San Bernardino
by Crew Connection We work with crews all over the world and always vet them to make sure our clients get the best. One of those is Crew West. The company treats smaller shoots with the same level of service as the big ones and also has one of the best time-lapse guys in the business. We talked with Michael Barcless, a Managing Assignment Editor for Crew West/Sat West. Barcless is a producer by trade and in addition to staffing shoots and providing cameras and formats, he covers MLB and the NFL (go Cardinals!).
Cold eyed they stared at me, moaning softly to themselves as if there was something they wanted to say but they couldn’t quite figure out how to make words work. I knew I had to do something, they needed food and they needed food now or the next thing on the menu might be me!!!
As a producer/director/shooter I’m always looking for the best way to maximize the investment of time and money. When it comes to purchasing and getting new gear into the production flow you need to do your homework. Listed below is but a few of the thousands of camera support products that are out there. But hey, that's why we’re here! The trick is to choose the right gear to stay within your budget and still come out with outstanding content. Easier said than done. But here is the good news. Getting new gear doesn't have to break the bank, and if you play your cards right, new gear can even pay for itself over time. So with that said lets’ check out some of the latest camera support gear and rigs that will take your production values to the next level.
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.
Seasoned producers get into a rhythm. Before they even set up a project, they have a decent idea of how long the project will take, how much money they’ll spend, and the team they want on the job. But make that shoot international and you’re sure to throw off even the most experienced professional. That said, hiring international crews doesn’t have to be a painful experience.
Matt Leonetti started his career as a camera operator & quickly became a full-fledged cinematographer shooting iconic films, including Poltergeist, Fast Times at Ridgemont High, Weird Science, Jagged Edge, Star Trek: First Contact, Dawn of the Dead, The Butterfly Effect, and Rush Hour 2. Forty years after his first role as director of photography on Bat People (1974), Leonetti continues to shoot, including the upcoming Dumb and Dumber To. Learn how Leonetti paved the way to his success, with tips, advice and much more.
From digital cameras to 8K workflows, video and sports production have been in a seemingly constant state of evolution. Veteran Steadicam operator and production specialist Alan Lennox has worked on everything from the Olympics to feature films and television episodes with new camera technology for decades.
In an industry where gear plays such an important role, you know a piece of equipment is worth a look when it becomes the consensus choice of the pros. For many, the Sony FS7 has achieved that status among cameras currently on the market. For the scoop on this topic, we interviewed Tammy Rogers, a seasoned production manager with a pulse on what video service clients and providers are talking about.
The camera crew behind the hit FX TV series The Americans chose Vitec Videocom brands to support the production through its second season. The show’s cinematographer Richard Rutkowski, and camera assistants Brendan K. Russell and Rory Hanrahan, rely on Anton/Bauer batteries and chargers, Litepanels LED lights, and OConnor fluid heads and tripods for their reliability and durability during stage and location shoots, which helps keep the show on pace and on budget.
Running our video production company used to be about jumping on a plane to meet the next story in person. That all stopped the second week of March - when Covid-19 hit, my team went from talking face-to-face with our clients with full-sized cinema cameras to get the best angle to...nothing. Working on-location wasn’t an option. We weren’t allowed to travel. We weren’t even allowed out of our houses, let alone to work with a crew.