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?”
Editor Robert Komatsu just received an Emmy nomination for editing the pilot episode of Mrs. America titled "Phyllis." Aside from this nomination, Mrs. America received nine other Emmy nominations for Outstanding Limited Series, Outstanding Lead Actress in a Limited Series or Movie (Cate Blanchett), Outstanding Supporting Actress for a Limited Series or movie (Tracey Ullman, Margo Martindale, Uzo Uduba), among others.
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.
As a Producer for more than 30 years, I've interviewed many people, from celebrities (Charlize Theron and the Cast of the Forbidden Planet) to astronauts (Sally Ride); from Little League Baseball Coaches (world-champion Chula Vista coaches) to college Presidents (Dr. Stephen Weber, SDSU); from athletes (John Tomac and Julie Foudy) to movie directors (Sam Raimi); from scientists (J. Craig Venter) to Presidential hopefuls (Hillary Clinton).
So you're a Director or Producer who trolls on Vimeo for creative ideas and inspiration. After weeding through a gazillion time-lapse and steadicam videos, you've hit on a school of ridiculously beautiful aerial shots. You keep telling your creative inner self, “We’re gonna find a place for this scene in a project!” Then the perfect project rolls around, and you put the shot into the storyboards and base another 3-4 shots on this visual hook because the ideas is so awesome. And you're super stoked. Then the Buzzkill happens...