Production

Essential Knots for Filmmaking: Bowline

I am going to take you through the four most essential knots in filmmaking and we start with the number one used knot in the movie business: the bowline.

Post Production, Production

G-Technology: G-RAID vs G-DRIVE

G-RAID vs G-DRIVE- It all comes down to speed and performance. I think having the added speed and reliability to ensure future work makes for a solid choice.

Jim Carrey trying to say the color of his pen

Post Production, Production

Why Do We Color? The Role of the Digital Colorist

When I first started out as a colorist assistant, I thought the colorist’s job was primarily to set unique and interesting “looks” for music videos, commercials and feature films. Yes, that is certainly a major component, but once I began to sit in the colorist’s chair, I quickly realized there was so much more to it than that!

Film Theory, Production

In-depth Look at Amazon’s “Transparent” with Cinematographer Jim Frohna

Guest blogger Jim Frohna describes working on the Amazon Prime hit show "Transparent" and shooting with the Canon C500.

Lydia Hurlbut with her father and mother

Production

Is Filmmaking Fair?

“Is filmmaking fair?” The answer is yes. Is it equal? Not for one minute.

Boy at table with Cheerios cereal for commercial

Cinematography, Pre Production, Production

Start Your Engines: Creating an in the Moment Docu-Style Approach

We all have seen the documentary style and how it looks and feels with real people. The director, Xander over at Backyard Productions, had a different idea and it was so unique and fun to shoot that I wanted to share it with all of you.

Pre Production, Production

Life Balance: Is It Possible?

What are your daily rituals and how do they increase your creativity and inspiration? Creativity takes cultivation and discipline to stay on top of your game.

Pre Production, Production

Independent Filmmaking – Pre-Production, Production, Post

Budget-minded filmmaking forces you to solve your problems within limitations. However, given the importance of the visuals to engage the audience in the story, we needed creative control over every aspect of the film’s aesthetic.

Cinematography, Production

Kitting Out Your MoVI for Cinematic Capture

How we're kitting out the MōVI on Fathers and Daughters.

Cinematography, Post Production, Production

Flanders CM 250 – The Lighting and Exposure Monitor of the Future

The CM 250 is a 24” OLED display that is crisp, clean and delivers beautiful blacks.

Announcements, Production

Filmmaker’s Spotlight – A One Man Band

Meet Raphael Rogers, once a graphic designer from Michigan who took off for LA to bring more life and opportunities to his career.

Cinematography, Film Theory, Production

Need For Speed: Innovation, Gear and Cinematography

This post give you insight into how we pulled everything off. Need for Speed was shot on four different camera sensors.

Cinematography, Production

Shane’s Gear Bag

I have been asked by many of our readers to share details regarding my personal Gear Bag. I use a vast array of tools to be able to tell all types of stories. I wanted to break it down with detail.

Film Theory, Production

The Power of a Stuntman in Need for Speed: No CGI Required

Need for Speed photography was done practically without the existence of CGI cars, planes, helicopters or virtual worlds and done with an elite group of professional drivers and extreme risk takers that put you in the driver seat at 180mph.

Post Production, Production

Adobe Creative Cloud for the Indie Filmmakers

A review of Adobe Creative Cloud for the independent creative

Film Theory, Lighting, Production

Essential Knots for Filmmaking: Clove Hitch

A useful knot to know for filmmaking is the clove hitch knot. The clove hitch can grip anything, from round objects, to square objects, to rectangles, it can wrap around pretty much any shape.

Production

The Drama Triangle & Difficult Personalities: How to Deal with Film Industry Quirkiness

Big personalities, intense time pressure, and thousands of dollars riding on getting the shots to make your day. As a filmmaker, how do you deal with difficult personalities, especially if you are stuck with someone on a long feature?

Cinematography, Production

Canon 1D C Internal 4K Workflow

Many people have asked about how I am processing these huge files from the Canon 1D C and its powerful 4K in camera capture. Here is how we roll it out.

Post Production, Production

Dark Energy for After Effects

Lance Maurer and his team at Cinnafilm developed the Dark Energy Suite, a revolutionary texture management system. This is how I was able to seamlessly cut film and the Canon 5D MkII together on Act of Valor.

Post Production, Production

Blackmagic Camera Post Workflow

We look at some workflow options for getting both the CinemaDNG and ProRes files out of the Blackmagic Cinema Camera and into the NLE of your choice.

Production

Essential Knots for Filmmaking: Bowline

G-Technology: G-RAID vs G-DRIVE

Why Do We Color? The Role of the Digital Colorist

In-depth Look at Amazon’s “Transparent” with Cinematographer Jim Frohna

Is Filmmaking Fair?

Start Your Engines: Creating an in the Moment Docu-Style Approach

Life Balance: Is It Possible?

Independent Filmmaking – Pre-Production, Production, Post

Kitting Out Your MoVI for Cinematic Capture

Flanders CM 250 – The Lighting and Exposure Monitor of the Future

Filmmaker’s Spotlight – A One Man Band

Need For Speed: Innovation, Gear and Cinematography

Shane’s Gear Bag

The Power of a Stuntman in Need for Speed: No CGI Required

Adobe Creative Cloud for the Indie Filmmakers

Essential Knots for Filmmaking: Clove Hitch

The Drama Triangle & Difficult Personalities: How to Deal with Film Industry Quirkiness

Canon 1D C Internal 4K Workflow

Dark Energy for After Effects

Blackmagic Camera Post Workflow

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