To try or not to try? Join us as we get an inside look into the inception of Longshot Collective, a team conceived by a group of film students grappling with the uncertainty posed by the COVID-19 pandemic.
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.
The production world has been upended by Covid-19. The entire industry has been affected: from major directors and studios to small independent freelancers around the United States. It is a sink or swim moment for many, and that means adapt or go broke.
Our first internal piece was a live town hall on March 20th. It included the hospital
president and other leadership discussing COVID-19 policies, workplace changes,
future plans, and answering employee questions from the chat. We then continued for
five more weeks to hold these meetings, most of which averaged 800 live viewers, with
even more watching it on-demand later.
Two simple words; suddenly at the forefront of popular culture. Around the world, producers, PR execs and performers are left scrambling; each trying to learn the ins and outs of live streaming. For most, it comes down to one burning question: “How do I pivot my in-person event to the digital stage?”
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?
As we slide into August and the dog days of summer, production companies and production personnel keep asking me the same question over and over. That question is: “Are we there yet?” It seems to be the overwhelming theme over the last month doesn’t it? To be honest, I think that the jury is still out. In some areas remote truck production “seems” to be working. Some mobile units are carefully rolling out and taking on new “remote” productions full stream ahead. Other truck owners are still taking a 'wait and see' approach and working in what I call a “hybrid” work model. In the truest sense of the word we are talking remote production but with a lot of caveats.
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.
Welcome back to our fourth installment of Pivot Point. Pivot Point is designed to explore what production professionals from all over are doing right now to keep working. This means going from on location and studio multi-camera to more remote like “at home” productions. This time around we catch up with Nick Walsh, Creative and Technical Director from LiveX. LiveX is a very interesting company that does some of just about everything. They(LiveX) are no strangers to challenging production situations and have been able to turn the corner and keep pretty busy. Here’s what Nick had to say about the current production environment for LiveX.