The moment many of us had hoped for is finally here. With the restart of productions, new cameras and important upgrades seem to be popping up all over the place. Yes, the production landscape continues to be changing and I don’t think we are done yet. In part one, we will explore four cameras that have captured quite a bit of interest over the last couple of months. Part two will cover some of the incredible gear that is emerging in 2021 . Check it out!

When talking to production professionals like DP Carissa Dorson, I've found time and time again that there are certain topics such as creativity, work ethic, technical knowledge, and joy, that make their way into almost every conversation. We touched on all of those topics with Carissa as well as some background as we pulled back the curtain on this very talented and hardworking DP. We caught up with Carissa as she was still immersed in production with A Little Late with Lilly Singh, currently airing on NBC.

Recently we had the opportunity to talk at length with Colorist Juan Cabrera, ASC Associate Member. Juan provided some incredibly valuable insights on his journey and on the art of being a colorist for major motion pictures and television. Juan also shed some light on how everyone at all levels of the production workflow can benefit from learning that the journey from beginning to the end really begins in pre production. Very enlightening to say the least. Check it out!

The Super Bowl Halftime production is simply like no other. Imagine taking most of your tried and true production practices and chucking them out the window. You know, things like days to set up, rehearse, tweak cameras and lighting and all of those good “normal” practices that you have done for years.

Every year I marvel at how much time and effort goes into the production, engineering, and genuine enthusiasm that makes the NFL Super Bowl (and halftime show) one of the premier sporting events shown around the world. This year the game is being produced by and broadcast on CBS.(Image 1) There is so much production technology involved it is mind boggling. On top of that, add in the hard work and dedication of the thousands of production and engineering professionals from CBS and other companies like NEP that make the technology work for the estimated millions of viewers at home. I want to add in one more thing for your consideration before we pull back the curtain.

In my opinion, there is no such thing as a right way or wrong way when it comes to deciding the approach of what ”tools” you and your crew should bring with you on remotes. This premise will always apply no matter if you have been doing productions “forever” or you are just getting underway. For example people have been telling me forever that I bring too much of everything. I just nod and say “Ya, I know.”

One of my favorite things about working in this industry is having the opportunity to talk so many really talented people. In our ProductionHUB exclusive series The Directors, we’ll bring you behind the scenes to find out about the styles, techniques, and equipment that are shaping the future of film and television production today.

I normally don’t start off a product review with the word “fun”, but I have to tell you man was this camera fun. Don’t get me wrong, the Marshall CV506 has some serious features that would rival some cameras costing twice as much.

As the resident equipment nerd and Technology Editor for ProductionHUB, I am constantly on the lookout for the coolest, newest gear. It just might be the best part of my job here. Working on getting the new equipment you want into the workflow equipment on a regular basis will require good record keeping, and some thoughtful analysis of where you are right now with your business (and where you want to get to).

In the words of the late great Jerry Garcia and The Dead, “What a long strange trip it’s been.” Truer words have never been spoken. But the question(s) still remains, Where are we (our beloved industry) in terms of actually working? Is it safe or not safe? Consistent production is still a moving target. Even as we speak, some if not all of Los Angeles based productions have been shut down again, and the NCAA has just announced they are conducting the Mens’ Division One basketball tournament in a bubble in Indianapolis.