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A camera test is a process of evaluating and experimenting with different cameras, lenses, and lighting setups before the actual production begins. The purpose of camera testing is to determine the technical capabilities of the camera equipment and explore creative options that best fit the story being told. Camera tests can involve a range of professionals, including directors, producers, and post-production experts.

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.

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.

It just wouldn’t be the awards season (virtual or otherwise) without our very own ProductionHUB Awards of Excellence. Every year around this time the editorial staff at ProductionHUB along with some noted industry experts takes a long look at some of the latest in new offerings in production equipment and software. Of course as with everything else going on this year, the logistics were a little bit harder. But the show must go on so here we are! ProductionHUB proudly presents the 2020 Award of Excellence winners.

Over the last couple of years, I have been very fortunate to test and evaluate many different types of cameras. From full-size 8K to specialized miniature POV units putting different cameras to the test is always interesting and a lot of fun. In this review, we are going to be taking a look at the Panasonic AG-CX10. The AG-CX10 is said to be the little brother of the Panasonic AG-CX 350. In either case, both are excellent choices for people that need a good amount of features that allow for a quick start-up, getting the shots you need, then scramming out of harm's way. But before I get too deep there are a couple of the things I try to keep in mind when reviewing gear. Who is this camera for? What might they use it for? Will it be a good fit and a good return on investment?

With in-person concerts on hiatus, Grammy-nominated rock band Underoath turned to Odd!Life Studios to help produce a live streamed concert series so fans could enjoy their music while at home. Creating an immersive experience that was equal parts performance art, the concert series (“Underoath: Observatory”) consisted of three concerts over the course of three weeks, with each concert covering one of Underoath’s albums in its entirety. Cinematographer, Director and Producer Lief Thomason from Odd!Life Studios spoke exclusively to us about what it took to successfully pull off the concert series, including how using a Blackmagic Design workflow powered by four Pocket Cinema Camera 6Ks, an ATEM Mini Pro, ATEM 2 M/E Production Studio 4K and ATEM 1 M/E Broadcast Panel helped them get everything done within their tight two week turnaround time.

Countless activities take place on-set in unison. You have the actors and their stunt doubles prepping and the production crew handling different pieces of equipment to ensure every take is successful. It’s, therefore, no surprise to hear accidents occurring. Fortunately, many are avoidable. Here are valuable health and safety tips your production crew should implement.

The Sundance Film Festival recently wrapped in Park City, Utah, but ProductionHUB got to talk exclusively to a few of the professionals that worked on nominated films. Wondering how some of these films came to life on-screen? Read more to find out their creative processes, equipment they relied on and more.

Ask a Filmmaker of any stature, and they will tell you that they never have enough resources (time, budget, equipment), to devote to any project. It’s certainly true for me shooting indie (read: low budget) features. However, for better or worse, it is an area of the business I’ve come to be known for, movies with budgets between half a million and five million dollars. Over a 40+ year cinematography career, I’ve learned a lot of tricks to squeeze maximum production value and good looking images out of meager budgets, making dimes look like dollars on the screen.

Ok, so lets start off slow so your can (maybe) wrap your mind around just how much time, money, (1.23 billion paid in rights fees alone in the U.S.) equipment, and logistics, go into this awesome spectacle called the 2016 Rio Olympics. But before we can move forward lets go backwards just for a second so one can understand and compare the scope of the production. Lets say you’ve been asked to produce a local college basketball game. Maybe 6 to 8 weeks out. No problem. One or two production trucks, maybe eight or 10 cameras, gfx, transmission, audio, just one venue.