We continue our series about classic Zeiss stills lenses for video. This time it's the turn of the Zeiss ‘Contax’ Sonnar 180mm f/2.8.

Craig Marshall continues his series on classic Contax stills lenses that make for great video on modern cameras. This time it's the turn of the Zeiss ‘Contax’ Planar 50mm f/1.7.

In the continuation of our series on the classic Carl Zeiss Contax lenses for video, we look at the venerable Vario-Sonnar 80-200mm f/4.0, and often overlooked zoom lens that can be had for a steal of a price.

The classic Carl Zeiss Contax lenses make for excellent glass on modern cameras. Craig Marshall evaluates the Vario-Sonnar 35-70mm f/3.4, a lens so good that it became known as a variable prime.

Vintage glass is most definitely in vogue with classic cinema glass being rehoused in modern lens enclosures. But does vintage stills glass hold the same appeal and practicality for filmmakers on rather lower budgets? Here Craig Marshall starts a major new series where he'll examine some of the best examples around. Some you willbe familiar with. Others are hidden gems waiting to be discovered.

Benjamin Gilmore is a Sydney based Paramedic who makes feature films in his spare time. After some moderate success on the Festival Circuit with his past attempts, Ben thought it might be a good idea to head off to somewhere exotic and exciting. Such as Afghanistan. There he planned to shoot a scripted drama about an American soldier who is troubled by guilt over something that went horribly wrong during his deployment.

Answer? Google Earth Pro. Until January 2015, this high resolution, professional version of the popular mapping software Google Earth, cost broadcasters and institutional users an annual subscription of $399/year. Now it’s free for everybody to download to their PC or Mac Desktop, but with the recent introduction of 4K output resolution, GE Pro could become your new best friend!

If you really do need a tough device that actually fits in your pocket and shoots 4K video Craig Marshall has a camera for that.

Ultra high resolution video puts a huge strain on storage resources, particularly if you need a RAID array. Craig Marshall offers some thoughts on building a RAID system that won't have your accountant in tears.

Stuck for power in a remote location? Craig Marshall outlines a potential solution that can power any pro camera with a 4-pin DC XLR socket.

Sometimes we might have to shoot using a less than ideal camera, or circumstances dictate that the one we use has a low bitrate recording system. Craig Marshall tackles the best workflows for such cameras and how to ensure the highest quality throughout the post production chain.

Is DJI's OSMO the best solution for documentary shooting in remote locations? Craig Marshall reflects on his experiences during a shoot in Asia.