From using Steadicam to gimbals to drones, it has never been more effortless to move our cameras so fluidly, but be sure to consider your moving shot thoughtfully
Rhino Slider EVO Pro
As someone who has been shooting for a while, I must confess that I get it. The desire to move your camera. Never before in the history of cinema, video, motion-picture image making, whatever you want to call what we do, has it been so relatively effortless to move our cameras so fluidly. For years, the choices we had were pretty... Read more
Coming up in the September/October issue, HDVideoPro interviews video director and advertising photographer Michael Rubenstein
Michael Rubenstein on location in NYC.
Coming up in the September/October issue, HDVideoPro interviews advertising photographer and video director Michael Rubenstein.
Whether he’s working alone or with a crew, Rubenstein’s forte is telling stories about real people doing real things. It’s a look advertisers and editorial clients alike are into.
Like... Read more
Whether working in film and TV or shooting events and weddings, it all depends on your client and where your work ends up
Canon EOS C200 Digital Cinema Camera
It all depends on what part of the production world you exist in. Some of us work in the rarified air of creating “cinema,” whether for indie small audiences or huge audiences worldwide. Some of us produce work for television. Many of us only produce work for corporate clients or even weddings and events. Depending... Read more
Creating one-of-a-kind short- and long-form films that tell a story
By Mark Edward Harris / Photography By Jawad Mir
A still from a wedding video produced by Jawad Mir and Film-Style Weddings, “The Secret of Flamenco”
The stated goal of videographer Jawad Mir’s Toronto-based company, Film-Style Weddings, is to create not only a memorable film for the participants but to make a complete stranger feel that they were a part of the wedding. Mir often creates supplemental... Read more
For still shooters stepping into video, a short primer on workflow, including codecs and video compression settings from input to output
By David Alexander Willis
The video imaging chain is complex and getting more complex all the time, yet advances in technology are allowing companies like Sony and Panasonic to squeeze immense editing capabilities into tiny still camera-style bodies. These cameras are able to achieve similar features as much more advanced professional video and filmmaking camera systems because... Read more
Getting cameras and their kits to function well in the field can take a bit of work, but these solutions aim to make the process an easier one
By David Alexander Willis
The market for video-capable DSLR and mirrorless cameras has exploded over the last decade, thanks in part to their advanced video functionality and relatively small size. While most photographers can pick up a still camera and start shooting straight out of the box, the videographer needs to spend some time, and effort, to configure most still cameras... Read more
To create authentic effects for Sir Ridley Scott’s The Martian, Territory Studio collaborated with the agency for thrilling results, underscoring this modern-day Robinson Crusoe adventure in space
By Simon Wakelin
For Sir Ridley Scott’s latest space adventure The Martian, Territory Studio teamed up with specialists at NASA to design future user-interface (UI) technology featured extensively in the film. Territory’s Creative Director David Sheldon-Hicks collaborated with Production Designer Arthur Max and Motion Graphics Art Director Felicity Hickson on the... Read more
Cinematographers discuss the sometimes unorthodox tools that help them on set
By Ian Blair
Cinematographers have access to more sophisticated equipment—everything from the latest digital cameras to a wide variety of lenses and lighting—than ever before. And, yet, many still will use an outside-the-box tool to solve a particular filmmaking problem, and that solution can range from the very latest iPhone app to a simple rubber band.
Here,... Read more
Will LEDs ever dominate the feature film and television lighting landscape?
By Dan Brockett
Just a few short years ago, LED (light-emitting diode) lighting technology seemed poised to take over lighting for film and television. The technology promised significantly greater energy and heat efficiency than existing technologies. LEDs required much less power, were cool to the touch, didn’t heat up sets and, in general, seemed to be the... Read more
Walt Disney Animation Studios creates a virtual space in the 2D-to-3D conversion process
By Mel Lamberts
With George Lucas’ Star Wars: Episode I—The Phantom Menace 3D currently playing at a number of AMC multiplexes and Titanic 3D poised to repeat the success enjoyed by its director James Cameron with Avatar 3D, the audience for stereoscopic productions is expanding dramatically. With an eye on consumer dollars, a growing number of movie studios... Read more
For indie filmmakers, camera movement is now a viable option
By Clint Milby
A still image is the capture of a single moment in time, frozen and devoid of any movement except for what may be implied by its content. When the subject is compelling and when the photographer executes the capture just right, what’s rendered can be just as powerful as any narrative film, thus the phrase, “A picture is worth a thousand... Read more
HDVP takes an in-depth look at the popular format and the many misconceptions that come with it
By Michael Guncheon
The HD DSLR revolution started relatively quietly in Cologne, Germany, when people saw the first SLRs that could record HD video. In 2008, at Photokina, both Nikon and Canon showed still cameras that used their Live View function to record video. In the past year, I’ve been invited to speak at a number of conferences, both technical and production-oriented,... Read more
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