One of the big features in the new Nikon Z6 and Z7 cameras is their ability to output 10Bit video through the HDMI port for use with external recorders. But we haven’t seen too many samples of video shot this way. Dreaming is a short film by filmmaker Marin Marinov shot using a Nikon Z6 prototype.
Gimbals are wonderful things, but just walking around holding a gimbal gets really boring really quickly, especially for the viewer. But that’s what often happens. Every shot looks like a “gimbal shot”. We’ve seen the same thing happen with drones, too. And like a drone, a gimbal can be a valuable storytelling tool, offering some unique shots.
In this video, the guys from COOPH show us six creative ways we can use gimbals to make more interesting footage. Footage that can help us tell a story and not just look like your typical gimbal footage.
If you are into filmmaking, there are plenty of ways to improve your work and to make the shooting more successful and efficient. In this video from StudioBinder, Brent Barbano of ShareGrid gives you seven quick, but very valuable lessons that will help you raise your filmmaking on a higher level.
Ring lights are a big love-hate thing in the world of photography. Some people are actually quite passionate about the catchlight it can present in a subject’s eyes – believing that there’s only one way to use a ring light. But ring lights can produce some wonderful light on your scene, especially when used off-camera.
And that’s how this giant ring light is intended to be used. Inspired by Oscar-winning DP, Roger Deakins, Todd at Shutterstock shows us how to build our own in this video. It’s fairly straightforward to do if you’re comfortable with basic tools.
There isn’t much that’s more boring in film than just seeing one locked off tripod shot after another. Getting that camera moving really adds emotion to a shot. And watching just about every movie made over the last few decades you’ll spot the same four camera moves.
Charging for video work, especially when you’re quite new to dealing with clients, can often be quite difficult. You don’t want to quote ridiculously high and scare off the potential client. But you also don’t want to quote far too low and risk not being taken seriously. Or, worse, them accepting it and you making no money for your time and effort.
So, how much should you charge? In this video, Caleb Pike chats with producer and director Corbyn Tyson about how to price up and quote for a video shoot. Now, every client’s needs will be different, and you’ll need to adapt this to your own workflow, but it should give you some idea of where to start with even modest projects.
Back in the days before gimbals were invented, we had the Steadicam. Now, I am not saying that Gimbals are easy, but getting a good shot from a Steadicam is somewhere between science and art.
Speaking of art, did you catch that Eurovision contest yesterday? it was Epic. So epic that we felt obliged to share an email we got about Eurovisions and Steadicams.
The shot above was taken at the 2009 Eurovision contest while Belarus were playing their song and it’s stellar. Before hitting the play button below, see if you can guess how the shot above was taken. Then see the clip below
The Lamborghini “Huracam” is the creation of Incline Dynamic Outlet. Because a $200,000 Lamborghini Huracan isn’t excessive enough already, they decided to strap a $500,000 camera rig to it. They claim it’s the world’s fastest purpose-built camera car, and I don’t doubt it. IDO co-founders, Nathan Garofalos and Chris Fuelner spoke with Jalopnik recently to explain.
When I was in college in the early 2000s, I still vividly remember how much I had to improvise to make my shots look like a real movie. Back when sliders and gimbals still weren’t available to the masses, we had to create makeshift rigs with PVC pipes and ride skateboards for tracking shots.
Of course, a lot has changed since then. These days, even amateur filmmakers now have access to all sorts of accessories online to achieve cinematic shots. However, I think it’s still important to instill in people the value of DIY ethos in filmmaking. You can’t always bring a carload of gear to every location, so learning how to shoot quality footage with minimal equipment will benefit you in this line of work.
Making mistakes is an inevitable part of our learning process. Still, it’s good to learn how to avoid them, so we can grow and make our work better. Nerris Nassiri from Aputure shares five biggest mistakes all beginner cinematographers make. But to be honest, photographers will recognize themselves in some of these, too. Did you make them when you were still new to cinematography/photography as well?