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...
Blackmagic Design URSA Mini Pro Review
Is this the best camera made my Blackmagic Design? I think there might be a good case for it...
Light and Motion’s Stella Pro LEDs Review
There is nothing more disconcerting than setting up for an interview and not finding a single wall outlet. There...
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...
ART OF THE SHOT: “Bad Santa 2” DP Theo Van de Sande
One of Theo Van de Sande most recent films was the second edition of the Bill Bob Thorton film...
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...
Blackmagic Design URSA Studio Viewfinder Review
Red, Blue, or Green. Sometimes just monitoring in a primary color helps a cameraperson nail the shot. In the...
