110 blog posts found matching keyword search for: Camera Department in California
Hair Department Head Suzy Mazzarese-Allison on Designing a Retro-Future for Apple TV+’s ‘Hello Tomorrow’
Suzy Mazzarese-Allison is the hair department head for the new Apple TV+ series Hello Tomorrow, which is about a group of salesmen who are persuading people to purchase a timeshare on the moon called The Brightside.
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.
A Comprehensive Guide to One-Camera Live Streaming Setups
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.
Anton/Bauer, Litepanels & OConnor Keep The Americans Camera Dept on the Move
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.
DP & Cinematographer Kevin Otterness Keeps the Camera Rolling with Core SWX
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.
Cinematographer Sarah Cawley Talks Behind-the-Camera Perspective on NBC's Manifest
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.
How ‘Kung Fu’ Cinematographer Chris Kempinski Grounded Fantasy in Camera Work
Chris Kempinski, is the cinematographer behind the CW’s hit series Kung Fu. Season 3 follows Nicky, still reeling from her abrupt breakup with her boyfriend Henry, and the shocking death of her nemesis-turned-ally Zhilan, dealing with new struggles and meeting new allies and enemies, all while fighting a growing crimewave in San Francisco. The series stars Olivia Liang, Eddie Liu, Tzi Ma and Shannon Dang.
Our Take on Shure's VP83 & VP83F LensHopper™ Microphones
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.
The Future of Virtual Production + Visualization with Digital Domain's Head of Visualization, Matt McClurg
Legendary visual effects studio Digital Domain recently announced that it has appointed visualization expert and studio veteran Matt McClurg as its new Head of Visualization. McClurg will oversee the VFX studio's full range of visualization efforts, including comprehensive previs and postvis work and a virtual production department that ranks among the top in the industry.
When “Departments” Become “Individuals” – Filming My First Feature
This is how we made Pride Jewel, my first feature film.
Okay, for transparency: there were 3 days where we brought on a grip to help our gaffer, and 3 other days where we hired a Steadicam operator, so our camera department ‘bloated’ to 2. Lastly, we did 4 days of pickups (landscapes, transitions, inserts, etc.) with an even smaller crew.
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Blog Posts 110
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The Art of Pivoting & Why It's Critical in Production