72 blog posts found matching keyword search for: Camera Department in Arkansas
Southeast Missouri State University’s Department of Mass Media Uses Marshall Electronics for Broadcasts
Southeast Missouri State University’s Department of Mass Media is using monitors from Marshall Electronics for its curriculum as well as for its broadcasts, which include telecasts for the local CW and Fox affiliates, and for streaming of various sporting events. We got an exclusive interview with Dr. Jim Dufek, Professor, TV & Film Operations Manager, SETV Production Director, Dept. of Mass Media at Southeast Missouri State University.
While the majority of Mainstream Media's live streams are multi-camera configurations, there are numerous situations where only one camera is needed. Events such as online learning modules, press conferences, electronic news gathering, and internal corporate broadcasts can be really successful with a simple one-camera setup.
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.
After investing in a RED Epic Dragon camera less than five years ago, it has always been extremely important to me to be able to keep it powered through an entire day. Core SWX allows me to do just that.
Sarah Cawley is an accomplished cinematographer who’s worked on a variety of television and film projects. In an exclusive interview, Sarah talks about Manifest S2, which follows the mystery surrounding a flight that suddenly re-emerged after having been missing for over five years. She discusses how the show was a fun visual playground for a DP like her, as well as take a deeper dive into the creation of the series, her unique behind-the-camera perspective, and more.
Pro Videographer & Editor Bradford Hill has had a lot of experience shooting events, music videos & interviews across the nation. His project require crisp sound with clear settings. When Shure shipped both their VP83 LensHopper™ mic and the VP83F LensHopper™ mic straight to ProductionHUB Inc., Hill hooked them up on both the Canon C100 and Canon XA25 to see just how sound these mics truly are.
Emmy-nominated) VFX work behind Amazon’s neo-futurist fable TALES FROM THE LOOP. Visual effects are of course key to any sci-fi story, but maintaining a balance with the naturalism of this one gave the VFX team more than enough to manage. Supervisor Andrea Knoll (a woman leading the VFX department, not that that should be a novelty anymore!) took point, enlisting the aid of Rodeo FX (Stranger Things 3, Tom Clancy’s Jack Ryan) as lead vendor. Over 700 VFX shots comprise a world that feels painterly, humanistic and lived-in yet sharp, tech-forward and brand new.
Being in front of the camera is not easy. This is especially true for corporate clients with less experience in the spotlight. When being interviewed on camera, there are small details that can make a major impact on the final video. Makeup Artist Crisger Santley delivers her top five makeup and hair tips for interview shoots.
Over his 30 years in production, Alan Lennox has worked in many capacities leading up to camera operator and then specializing in Steadicam. He is currently an active member of the Society of Camera Operators, IATSE 667Toronto, IATSE 669 Vancouver and other industry associations. Alan was one of the first operators to adopt the ARRI Trinity -- the first hybrid camera stabilizer that combines classic mechanical stabilization with advanced active electronic stabilization. He then joined ARRI as the Camera Stabilization Systems (CSS) Specialist for the Americas. Currently, Alan shares his time between supporting CSS sales, demonstrations and tradeshows and also leads ARRI’s CSS workshops for the ARRI Academy for Maxima, artemis, Trinity and Stabilized Remote Heads.
By Ray Roman I never really planned on leaving my fulltime job to become a wedding cinematographer. I was working at a police department on the SWAT team when I entered the business, and I thought it was just going to be a hobby. Over time, however, I started booking more clients than I could handle, and I had to make the leap. I was obsessed with video production. My first lesson of advice to anyone pursuing a newfound passion while still working fulltime would be to take it slow. I never considered the backlog that was going to come with these jobs until it was too late, and although I loved every second of it, it was hard work for a novice. I had to work doubly hard to develop my craft.