December 2011

December 2011

CineSoundPro

Compact Field Mixers

When two microphones just aren’t enough, you get the input options and flexibility you need with these incredibly useful, multitalented devices

by George Petersen
Equalizers: December 2011

New Gear To Give You An Edge
In The Mix

Robert Janiger on capturing dialogue on location for feature films and TV work

by George Petersen
Inside Track: Wireless Demystified

Ten steps to improving RF mic performance

by George Petersen

At A Glance: Go Wide

The Canon EF 8-15mm ƒ/4L fisheye zoom lens

by David Willis
At A Glance: Sony NEX-7

Are DSLMs the new DSLRs?

by Neil Matsumoto
Audio Assist: Getting In Sync

Singular Software PluralEyes 2.0 for Final Cut Pro

by Dan Brockett
December 2011

by The Editors
Splish Splash

Air Sea Land Productions’ T-Bag helps keep Boardwalk Empire and The Big C dry
Through The DSLR Looking Glass

Choosing the right lens package for your DSLR

by Dan Brockett

Camp RED

Kids go to summer camp to make movies with the RED EPIC

by Andrew Takeuchi
Depot Of Lost Dreams

The production and effects team behind director Martin Scorsese’s Hugo climbs aboard the 3D train

by Kevin H. Martin
Like Crazy

Director Drake Doremus and cinematographer John Guleserian use the Canon EOS 7D to capture hearts and eyes

by Valentina I. Valentini
Make It Big

The ins and outs of producing a feature-length DSLR movie

by Clint Milby
The Short Form

How DSLRs have had a major impact on shorts, spots and vids

by Iain Blair

EZFX

Create stunning visuals with affordable visual-effects software

by George Avgerakis

Help Desk: I See Dead Pixels

Dealing with a dead pixel on your sensor

by Andy Shipsides
Production Takes: A Strange Scene

Sought for questioning in a murder investigation
Video Assist: Not Having A G’Day

Figuring out a stutter effect, and the segmented frame

by Michael Guncheon