39 blog posts found matching keyword search for: Camera Guy
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.
by Stephan Guarch & Edgar Cohen Aerial photography and videography are nothing new to the production world. But how we achieve those shots certainly has in the last 12 months. Drones have exploded in popularity as a way to get aerial and low altitude footage for videos, for everything from full feature films such as “The Wolf of Wall Street” to the everyday film hobbyist who flies leisurely at the local park. But for anyone who has actually tried to capture this footage there’s quite the learning curve involved when it comes to choosing the right drone and what seems like an infinite amount of accessories and upgrades. This week the team at Experience Above posts a nice overview of the top 3 tips for getting started with drone video production, a handy starters guide.
Let's flash back a few scant months to April 2016 and NAB. I know it (really) seems like such a long time ago. But it wasn’t. So there I was. I took one look at the Panasonic Varicam LT, picked it up and said to myself, hey this is the kind of camera I have been waiting for. (I really said that.)
Spent: Looking for Change, from Academy Award-winning executive producer Davis Guggenheim (An Inconvenient Truth, Waiting for Superman) and cinematographer Greg Ephraim (All Cheerleaders Die) premiered online on The Young Turks' YouTube and Hulu channels. The film was shot by Ephraim on the Canon C300 and the EF and cinema lenses; the camera’s small profile and ease-of-use helped the filmmakers capture an intimate look into the lives of four American families wrestling with the costs of living outside the traditional financial system. Greg Ephraim takes us behind the scenes on his film-making experience on the documentary.
If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.
Self-proclaimed “Satellite Guy” Rob McWilliams of McWilliams Productions shares tales from producing multiple live shows at CES, including how he was able to live stream through a massive blackout!
Web series, Model Wife, is a great example of how many in the industry are branching out and capitalizing on the availability and DIY-ness of web video. Model Wife was created, written and produced by Cory Cavin, Bill Grandberg and Josh Lay. It's a comedic web series about a normal guy, his supermodel wife and their two neighbors. After meeting Cory and Josh while working on Late Night with Jimmy Fallon and becoming fast friends and a fan of their work, Edmond Hawkins jumped at the chance to direct an episode. Six episodes and one year later, and he’s still at it.
I have to thank ProductionHUB for the best drone gig I had in 2017. I received a call from Jynx Productions from Yarmouth, Maine on a Tuesday, inquiring about a drone shoot to happen in 2 days. They were having a tough time finding a licensed drone pilot in Florida who also could be the main camera on a DSLR shoot. Luckily they logged onto ProductionHUB and found my profile. Fortunately, I was able to move a day of editing on another project, because I ended up capturing the best footage I have ever shot with my DJI Mavic Pro.
Over the years I have had the opportunity to work with some of the best and brightest minds in sports production. Everybody involved in the production side of things has brought their own unique style and expertise to the table - outstanding producers and directors, technical directors, audio engineers with mad skills, rock solid camera ops, and dare I say hundreds of other technicians, grips, and production assistants, and just a lot of other people that make great sports productions happen. But all of the people I have just mentioned whether they were part of a big crew, or of just a crew of two have one thing in common.
Here’s a HUGE issue that my contemporaries and I see all too often. Productions just know that they “need a drone” and lump all UAV’s into the same category. Now pay attention class because this is important: What you need is a skilled and licensed pilot/company that has the correct camera/drone/team combination for your production.