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As rumored, Panasonic finally announced the availability of V-Log for GH4 users as a paid upgrade today. For $99 current GH4 owners will be able to download and install an activation code that will allow them to use the new picture profile on their cameras. Additionally, we now know that there will in fact be a GH4R […]Read more →
Just a few days ago, I wrote a post about the GH5 and the features that I hope to see included when it’s released. While all of the points I made there still are valid, the timeline and overall trajectory of the GH5 release may be different than many of us had thought. If you haven’t yet […]Read more →
This week I had the pleasure of interviewing Dan May, President of Blackmagic Design at BMD Day here in Los Angeles. Throughout the course of the interview we touched on the new 4.6K URSA sensor, the future of the Pocket Camera, some company philosophy and much more. Check it out below! As some of you know, I’ll be […]Read more →
I’ve been a huge fan of Panasonic’s GH cameras for years now, having owned the GH2, GH3 & GH4 at one point or another. Each iteration in the GH lineup has been more impressive than the last, but it was the GH4 that allowed Panasonic to make a real dent in the market. That said, […]Read more →
Low-light cameras like the Sony A7S and Canon C300 have been opening up incredible possibilities for shooting night exterior scenes without any lights at all. But there are still some huge advantages to shooting day for night which can make it an ideal choice for many filmmakers. So for those of you that are looking to go […]Read more →
The regular readers of my site know that most of the content I write about is production and post oriented. I like to touch on filmmaking techniques, new equipment, editing software, etc. as those are the elements that give low-budget filmmakers like myself a means to tell stories. But understanding how to achieve high production value is […]Read more →
High dynamic range cameras are currently all the rage with filmmakers, and for good reason. After all, more dynamic range typically helps to emulate the film look that so many of us are after… But the reality is dynamic range will only get you part of the way there. To really get that filmic quality […]Read more →
Ever since Veydra released their lineup of Mini-Prime MFT cinema lenses, I’ve been getting lots of e-mails from readers asking me to do a review on them. So for those of you that have been waiting, this article is for you. I was able to use these lenses for the first time on a professional shoot several […]Read more →
Most filmmakers will opt to light their actors with soft light as it can be very forgiving, easy to work with and is often most pleasing to the eye. But lighting everything with tons of diffusion isn’t the only way to go, and there are certainly times when hard light will give you a better result. Filmmaking, like […]Read more →
ceony made some huge waves in the filmmaking world with their A7S, but the newly announced A7R II might just be the better choice for many filmmakers. I’ve never owned a Sony A7S but I have shot with the camera numerous times and was always impressed by it. I love how small and compact the […]Read more →
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