Production

While drone shots have become very much part and parcel of many productions, owning and operating the vehicles legally is becoming an increasing legal burden and the economics of being a specialist drone operator are looking less attractive by the month. Have we already passed peak drone?
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RedShark Replay: Just in case this headline looks familiar to you, you’re right: we’ve been talking about this stuff for a long time. But a lot has changed, the world has moved on, and now, we’re no longer simply extrapolating from what’s gone before: we’re dealing with the real thing. 
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Some of the most important aspects of producing video content in the modern age are governed by standards. Here is a brief rundown of some of the numbers we're most likely to encounter, and a quick summary of what they mean.
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The more mobile we get as content creators, the more cumbersome it becomes to bring a tripod along with us. But that doesn’t change the need for stable images and videos, so what is a shooter to do? Well, there are plenty of other ways to skin the stability cat.
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Digital, file-based video, has brought untold benefits. Quality is up, and equipment costs are down. And now the internet means that we have a worldwide distribution network that allows anyone to can watch video almost anywhere. It’s win-win.
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A spark of genius? DJI bills its new $499, cellphone-sized Spark drone as “the easy and fun camera drone for everyone.”
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News from Cannes: VFX and 3D animation facility Prana Studios plans to reinvent the theatrical experience with massive screens encompassing entire theatres, animatronic dinosaurs, and actors performing live on stage.
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Gear we like. It might be five years old now, which seems like a lifetime in the modern camera industry, but Sony's FS700 is still a mighty fine camera and that's even before you start talking about its high framerate capability.
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It has never been easier to shoot uncompressed, so why do we continue to insist on doing so?
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With the new film, Blade Runner 2046 on the way later this year, Ridley Scott’s original Blade Runner is a rich source of inspiration for many young filmmakers. Recently we highlighted the one-man CGI approach, but here Luka Hrgović and Dino Julius show how they took the optical, in-camera approach with their short, Slice of Life.
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All too often, you may be stuck with needing to shoot an interview or take a photo and you only have one light to shine on your subject. Ordinarily, that would mean long shadows and an unappealing image, but with a few bounce boards you can create the look of 3-point lighting and save the day.
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