11 blog posts found matching keyword search for: stage assistant in Memphis
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, Tim Arasheben gives us an inside look at what it's like to shot with Canon's 50-1000mm lens on set on the short film, “Connections." Learn the pros and cons of the lens, along with info about the short and what projects Arasheben has set for the future.
Cinematographer Alison Kelly (Grand Hotel, Counterpart, Dietland) talks about her latest project, Grand Hotel, working with Eva Longoria and changes in the film industry in an exclusive interview with ProductionHUB.
by Katrina DiamondThe panel kicked off with a 5-min. montage of great movies, then dived right into questions. This ‘The State of the Crafts’ session at NAB was a panel of the following speakers:* Richard Crudo, ASC - Vice President * Stephen Lighthill, ASC President, “The Spirit of ‘76”, “Earth 2”, “Nash Bridges” * Dean Cundey, ASC * David Mullen, ASC, “Northfork”, “Smash”, “Big Sur”
Ok, here is the straight out truth. I love sharing stories of people in our profession that aren’t afraid to take risks, put themselves and their assets (so to speak) on the line with our ProductionHub family. I met up with Sean and Stef Mullen of Rampant Design just a couple of years ago as they were navigating their small company into the big time of NAB. I was quickly impressed how their small company was able to rock it with the big boys and make some pretty big impressions at the show. I also got the vibe that besides being genuinely real people (a nice change) that they had bigger dreams. Don’t we all! So it was no surprise to me to hear that are chasing down the dream by opening a new studio space in Orlando, Florida.
Oscar-nominated, Sundance and Cannes winning director/filmmaker Jessica Sanders talked to ProductionHUB about the challenges of breaking into the production industry and gave a behind-the-scenes look at her film, End of the Line, which premiered at Sundance earlier this year.
Every winter in Utah, the Sundance Film Festival becomes the ultimate gathering of original storytellers and audiences. The festival includes dramatic and documentary features and short films; series and episodic content; and New Frontier, showcasing emerging media in the form of multimedia installations, performances, and films. When you attend Sundance, you can expect to attend daily filmmaker conversations, panel discussions, and live music events.
When it comes to bringing a story to life with sound, there's more to it than meets the eye... or ear. Woody Woodhall, CAS is President of Allied Post Audio in Santa Monica, CA and is an award winning supervising sound editor, sound designer and rerecording mixer. He has sound supervised and mixed feature films, documentaries and for television he’s VO recorded, sound edited and mixed hundreds of episodes of programming for MTV, Comedy Central, Food Network, Nat Geo, History, USA Network and VH-1 to name a few.
The production industry is always evolving, from new ways to film to breakthroughs in production technology, with many women spearheading initiatives that impact the industry and set changes in motion. For the second year in a row, we are thrilled to present a few of our favorite "Women to Watch" — women who are constantly inspiring and reaching new ceilings in an industry that was previously male-dominated.
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.