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What does it take to create the world’s first 24 hour music video? A kickass crew of creatives and no time for second takes, that’s what. Pharrell’s “24 Hours of Happy” music video has been shared, watched and danced to all across the web, and the fact that it was shot in just 10 days deserves a bit of a happy dance all on its own. Catch up with Jon Beattie, Steadicam Operator of the music video and learn his trick, tips and advice on being part of such an unforgettable project.

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.

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.

So you're a Director or Producer who trolls on Vimeo for creative ideas and inspiration. After weeding through a gazillion time-lapse and steadicam videos, you've hit on a school of ridiculously beautiful aerial shots. You keep telling your creative inner self, “We’re gonna find a place for this scene in a project!” Then the perfect project rolls around, and you put the shot into the storyboards and base another 3-4 shots on this visual hook because the ideas is so awesome. And you're super stoked. Then the Buzzkill happens...

You've got an idea, a script and already weighing out your options for casting and crew. But will your promotional video turn out to be a triumph or a flop? Planning on how to use the video and what the goals are can drastically change the outcome and effectiveness this video has on your brand. Here are a few things to think about when planning your video.

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.

Recently I had the opportunity to sit down and have a great conversation with NYC-based DP, Jendra Jarnagin about a recent feature film, Asking for It. Jendra has an extensive professional background and her work has been seen in countless features and commercials. Let’s dive right in!

As filmmakers, we are in love with the art and craft of one takes. Way back in film school we saw how the legends used them such as Martin Scorsese in “Goodfellas” and Orson Wells in “Touch of Evil”.

As with any horror film, the end result once it hits screens is absolutely jaw-dropping, bone-chilling and more. But what happens behind-the-scenes? Cue DP, Dan Kneece, and the rest of the production team. We spoke exclusively with the the Director of Photography to find out just what it takes to bring a horror film to life.

Agnesh Pakozdi is the incredible Berlin-based cinematographer for episodes three and four of the upcoming Pitch Perfect: Bumper in Berlin series, which debuted November 23rd on Peacock. The series follows the original movie’s Bumper (Adam Devine) as he moves to Berlin to continue his music career.