Current Issue

Audio For Hire

When do you need to hire a location sound operator and when should you go it alone?

Equalizers: June 2013

New Gear To Give You An Edge

News & VUs: June 2013

Sound Carts For Video Productions

Tips for building sound carts, from the bare essentials to fully featured kits and setups

At A Glance: Rokinon VDSLR Lenses

The “V” is for video

by Neil Matsumoto

Hands On With The Blackmagic Cinema Camera

A low-cost digital motion-picture camera designed for cinematographers

by Neil Matsumoto

Indie Camera Moves

The latest stabilizers, sliders, jibs and dollies designed for the low-budget shooter

by Iain Blair

June 2013

by The Editors

Dead Again

Sony’s F65 captures a clear and present terror for the Evil Dead remake

by Kevin H. Martin

Dual Disciplines

DP Sean Porter uses filmic techniques to shoot the Sundance digital feature It Felt Like Love

by Valentina I. Valentini

Off The Road

Shooting with the Nikon D800, writer/director Guillermo Arriaga and cinematographer Janusz Kaminski create a beautiful horror for Broken Night

by Neil Matsumoto

Rebranding

With the help of the ARRI ALEXA, DP Chris Manley creates an easy transition from film to digital for Mad Men

by Iain Blair

The Jazz Age

Cinematographer Simon Duggan, ACS, displays decadence in three dimensions for Baz Luhrmann’s The Great Gatsby

by David Heuring

Trials, Tribulation And Technology

Menthol comes to life with the help of Kickstarter, the Blackmagic Cinema Camera and digital distribution

by Dan Brockett

Planar Tracking Tool

Imagineer Systems’ mocha Pro v3.1 is a powerful finishing application

by Michael Guncheon

Audio Assist: Lavs That Cost Less

Setting a new bar in the price-to-performance ratio

by Dan Brockett

Help Desk: Getting It White (The First Time)

The importance of proper white balance

by Andy Shipsides

Misinformation: 4K In The Mainstream

Is it time?

by Neil Matsumoto

Video Assist: Exposing Frames

Shutter angles, plus as the big elephant in the room: archival

by Michael Guncheon