A Guide to Shooting HDR TV, Day 3: “Monitor Considerations”
This is the third installment of a six-part HDR “survival guide.” Over the course of this five-part series, I...
A Guide to Shooting HDR TV: Day 2, “On Set with HDR”
This is the second installment of a six-part HDR “survival guide.” Over the course of this series, I hope...
A Guide to Shooting HDR TV: Day 1, “What is HDR TV?”
This is the first installment of a six-part HDR “survival guide.” Over the course of this series, I hope...
Preview: the Mini XTC 9250-XL
Just in time for NAB, the 9250-XL is everything that a producer could want in a camera. The revolution...
Cooke Anamorphic Lenses Bring Class and Character to a Clean Digital World
I remember the first time I worked in anamorphic. I’d landed a job as “A” camera operator on a...
Three Variations on Lighting a Single Shot Commercial
I love a challenge, as that’s when I get to do my best work. One of these spots was...
FiLMiC Pro v6: Log Video on iOS
FiLMiC Pro (US$14.99) has been the de facto video camera app for mobile filmmaking for awhile. Mostly because of its...
Polishing the Talking Head Interview
I’m constantly experimenting with common lighting setups and trying to make them better. There is no more common lighting...
Flicker: Why On-Set Monitors Fail Us
While working as a young second camera assistant on a film TV series in the 1990s, I noticed the...
Vintage TV Studios in Modern Film and Television
Have you ever watched a movie or a television program set in a time decades ago that had a...
