As I’ve said before, some of the most talented camera assistants pass for being invisible. As a result of this, they are often left behind in budgets or the minds of production. That kind of naiveté about the position led Dan Wagner, and a few others, to draft an essay titled “The Importance of the 2nd Camera Assistant” – a manifesto outlining what a 2nd AC does and why a production should invest in a good one.
Filmmaking Tips and Advice
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Expendables Shootout! A Three-Way Battle for Cheap Expendables
For any camera assistant, grip, gaffer or other crew, expendables are a necessary purchase for every production. In the low-budget world, the expendables budget for a department is often limited and has to be stretched. So where can these items be purchased with the most bang for the buck? Let’s find out.
Independent Film and Hollywood: How Technology is Closing the Gap on the Great Divide
It seems these days that the gap between independent films and Hollywood couldn’t be greater. Where the bread and butter of indie films has always been small character dramas, Hollywood is finding more ways to expel these stories from its gables and make spectacle, “tentpole,” films its area of focus.
Happy 1st Birthday to The Black and Blue!
On January 4th, 2010, The Black and Blue was borne into its current iteration with a simple site redesign, effectively transforming the site from a portfolio into a blog for camera assistants. Since then, there has been remarkable feedback from readers and supporters and I cannot thank each one of you enough!
RED Favors HDRx, Puts EasyHDR On Hold for Epic Cameras
RED Digital Cinema CEO Jim Jannard has announced on Reduser.net the company’s intentions to focus mainly on its HDRx technology for the new line of Epic cameras. HDRx is a feature of the new cameras that results in an increase from 13.5 stops to a possible 18 stops of dynamic range and allows a great amount of flexibility in post-production.
30 New Years Resolutions for the Independent Filmmaker in 2011
With a new year brings new beginnings and those dreaded new years resolutions. Despite the majority of people’s inability keep them, many still enjoy to make them because it inspires hope for something better in their future.
RED Epic vs. ARRI Alexa vs. Canon 7D
As we leave 2010 behind, there’s no doubt that the digital cinematography race is getting tighter with options across the board. Three major players – RED, ARRI, and Canon – are chasing the trophy. But how do they stack up against each other?
The Best of 2010: Top Posts of the Year
2010 has been a whirlwind year in the film industry. 2010 brought the proliferation of 3D (and digital cinema) taken to new heights. It saw major filmmakers like Roger Deakins and Peter Jackson put up flags in the digital camp. And at the end of one decade and the start of another, The Black and Blue experienced unprecedented growth.
On Set: The Little Red Record Button
It’s such a simple thing, really, that bright red button that sticks out wanting to be noticed. Its color contrasting against the utilitarian body of the camera, screaming “press me!” The deep glow of the crimson is unforgettable and the power which sits behind it is immeasurable.
Terry O’Quinn Speaks About the LOST Camera Crew (Video)
Part of the enjoyment of watching LOST, for myself, was the cinematography and production value that went into the show. I recently found a video online of Terry O’Quinn, who plays John Locke in the show, talking about the crew behind the camera and how their technical abilities helped enable the art of LOST.