Production

Digital projection has opened up lots of possibilities for independent film producers, but the process involved in creating the neccesary compatible Digital Cinema Package could have a few pitfalls for first timers. Neil Oseman takes us through his own experiences.
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Losing out on a job because of a lack of skill is one thing, but losing it due to not owning the latest camera is something else. It's a growing phenomenon, and Phil Rhodes has an opinion on it.
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It seems that the film world cannot get enough of vintage glass at the moment. With that in mind P+S TECHNIK has now announced that they are to reproduce the classic Kowa anamorphic lenses.
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With HDR becoming an essential part of modern workflows, Sony has recognised this with an expansion of capabilities across its professional range of products.
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Continuing our series of IBC 2017 videos we caught up with Sony, Sigma, iZotope, Matrox, and DPA Microphones to find out the latest about the companies products at the show.
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Shutterstock is giving away a Sony a6500 camera, 50mm lens, SmallHD FOCUS monitor, light, microphone, and more. Enter now!
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Can you really build a useful raw video rig using nothing more than an old DSLR, a firmware hack, and a spare £200? Phil Rhodes finds out whether it is possible.
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For many it is the best NLE that ever existed. For years it lead the way with innovative features, and arguably it could even have influenced the design of FCP X with its elimination of the source/record style interface. It is of course Vegas Pro. Michael Bryant takes us through the origins of this unique, and popular software.
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RED’s new Image Pipeline (IPP2) is a serious and worthwhile improvement on the original version. Phil Holland has made a useful graphic showing how to use it.
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Three point lighting often conjours up images of flat corporate video or daytime soap operas. But is the system still relevant today, or is it an important concept we can use to guide us, whatever the situation? Neil Oseman offers us some dissection.
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Sony's new Venice camera has recently pushed full frame sensors for filmmaking into the limelight. But while larger sensors do offer some compelling advantages in the right circumstances, just how big should they become, and can we manage their requirements?
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