Weekend of Live 360: Live Streaming 360 Video on Facebook
By Al Caudullo Al Caudullo describes 360 live streaming for Facebook’s Weekend of Live 360, from planning a Bangkok rooftop
Cameras
The Importance of Dolly Shots and Setting Up Your Track
By Michael Corbett Dolly shots build tension and reveal story. Michael Corbett explains why moving camera shots matter and how
Focus Assist and HDV: Getting Sharp Focus in High Definition
By Tony Levelle Focus is critical on HDV. Tony Levelle explains manual focus, backfocus, push-to-focus and focus assist so your
In Love with Super 35: A Camera Changes Student Production
By Dean Goldberg Film professor Dean Goldberg explains why a Super 35 sensor camera won him over and how it
Steadicam Operator Peter Robertson on Atonement and In Bruges
Steadicam operator Peter Robertson explains how he trained, how Steadicam scenes are planned, the rigs he used on Atonement and
Handheld and DSLR Shooting Tips from David Lent and Patrick Reis
By David Lent and Patrick Reis Two working shooters share quick, practical tips: cameraman David Lent on handheld camerawork, and
The Two Worlds of Still and Motion Imaging Collide
By Jon Firestone Still photographers began shooting magazine covers with the RED camera. Jon Firestone explains how still and motion
HDSLR Audio: Challenges and Solutions
By David Kaminski, with Eric Perez There are reasons to love DSLR cameras, but audio isn’t one. David Kaminski and
Shooting Stop Motion with Twelve DSLRs and a Multi-Rig
Director Hannu Aukia shares how he shot his music video Running Man with a dozen DSLRs on one rig, using
Where Does Film Stand?
By William Donaruma Digital production became a mindset for students and studios alike. Film professor William Donaruma asks where film
Visualizing and Shooting for Black and White on DSLRs
Patrick Reis shares how he visualized and shot the black-and-white music video The Man That Got Away, with multicam setups
One of the First Creative Uses of Experimental Hi Def
By Myrl A. Schreibman Before RED and digital dailies, there was experimental HD. Myrl A. Schreibman looks back at one