Stepping on set for day one always comes with a tinge of anxiety and nervousness. You’re meeting crew for the first time, maybe taking a step up the ladder, and sometimes working with a brand new camera you’ve got little experience with. So, what do you do?
When it comes to cameras, there’s more options now than ever before. That’s great for cinematographers, but it leaves camera assistants struggling to wrap their heads around a staggering number of camera systems. Inevitably, you’re going to come across one you haven’t even touched before. So, how do you handle it?
With the addition of those 5 new cameras, a total of 30 pocket guides are now available — making this an even better resource for camera assistants, cinematographers, and filmmakers.
You want to make sure you know what you’re doing when you use a camera. Or, at least, you want to have essential info about the camera you’re using in case something goes wrong. The digital cinema pocket guides that I launched last month help you do just that. And today I’ve unleashed a major update to them that you don’t want to miss
It’s been a long time since I made the original RED One Pocket Guide. So this major update is long overdue: a refreshed design, 20 total cameras, and all original cameras updated. You’d be hard pressed to find a more comprehensive resource like this anywhere else
You have two options if you want to use a Miro with a Mac: either pay for some plugins or use this free method I’m going to show you today. If you want to pay, stop reading and go here. But if you think free sounds pretty nice, keep on reading
It happens everytime a new camera is released. The film vs. digital debate gets dragged out of the mud it’s been trampled into and is subject to another beating. After that runs its course, a more nuanced debate starts happening: one digital system vs. another digital system.
Sometimes we forget what we’re dealing with. As our series on the RED Epic comes to a close, it’s time to take a look at the most obvious, yet most often ignored part of the camera.
Because the body is so basic and so customizable, you will definitely add modules, accessories, and other gear to it. There’s just no practical way to shoot with the RED Epic without doing so. And whether you like it or not, it’s up to you to make sure you grab what you need.
Part of the sexiness of the RED Epic is its amazing ability to shoot high-speed, slow motion footage at high resolutions. And you bet directors and cinematographers take advantage of this. So it follows that if you’re working with the RED Epic, you need to know how to shoot slow-mo.