Working as a photographer or a cameraman during winter is not a pleasant feeling. Being in that business, you have to be present on set for hours, working without a break, and under any weather conditions. Furthermore, when you do take breaks, you need to store your equipment somewhere before proceeding. Cold weather is not good for your health, nor is it good for the state of your camera. With that said, here are a couple of the best tips for storing filming equipment in a cold climate.

Netflix’s Dick Johnson Is Dead explores the complex emotions we feel as our loved ones grow old in a highly imaginative and cathartic story of a daughter’s love for her father as he nears the end of his life. Award-winning filmmaker and director Kirsten Johnson celebrates her father in this bittersweet tribute as a way for them to both cope with the evitable, blending imaginary scenes and real-life events as her and her father experience pain, love and joy.

HBO Max’s Legendary isn’t the first reality competition series to shine a light on a fascinating slice of LGBTQ+ culture, but series director Rik Reinholdtsen brought a showstopping cinematic look to the Ballroom competition show’s first season that is unlike anything you've ever seen before. Reinholdtsen (Cooked with Cannabis, Inside the Actor’s Studio, Chelsea) shot with the Canon EOS C700 Full-Frame Cinema Camera, EOS C500 Mark II, and Sumire Prime Lenses to create a larger-than-life look that matched the majesty of the Ballroom performances, which blend dance, performance art and fashion. Reinholdtsen used the same gear to shoot in the field for the documentary portions of the show, helping him achieve a cohesive look. We spoke exclusively to Reinholdtsen about his experience on Legendary, why Canon was the right choice for this project, and what inspired the show’s aesthetic.

Let me tell you a short story. When Quentin Tarantino was working on The Hateful Eight, they rented an extremely expensive 145-year-old guitar for the purpose of shooting a scene. In that particular scene, Jennifer Jason Leigh's character was supposed to play the guitar, when Kurt Russel's character snatches it and breaks it on the floor. The idea was to cut the scene at the right moment, replace the guitar with a fake, and then break the fake guitar. However, that was not communicated properly to Kurt Russel, and the rest is history. As you can see, there are certain rules and tips for working with rented gear on your shoot. To prevent any similar mishaps, let's see what are the best practices you should follow.

Pre-COVID my company specialized in designing and executing corporate events – from visual concepts, video, motion graphics and animation to presentation design to speaker training and support– for events from 5 to 50,000 attendees. Clearly all that has changed. These days we’re helping our clients pivot to virtual events. One thing we’ve learned, it’s not as simple as turning on a camera and live streaming the event. If you want an effective and compelling event, one that will engage your audiences, you need to rethink the format, delivery and content.

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?

You take the plunge and the cool quiet mumbling of life below edges out the background hum of the world above. Everything beyond the surface takes a distant place in your ears, and if you’re lucky, in your mind, too.

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.

I was lucky enough to serve as the technical advisor on AbelCine’s Behind the Lens project, a web series looking at 11 professional zoom lenses covering the indispensable 3x wide-to-tight range, perfect for handheld shooting in run-and-gun documentary situations. New York-based cinematographer Matt Porwoll graciously agreed to helm Behind the Lens: A Look at Documentary Zooms, which launched in April. We just posted the final episode in the series and wanted to look back and highlight some key findings about each lens.

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.