Curiously, it seems that even the most ardent champions of the digital revolution cannot bear the thought of calling themselves “videomakers.” Whatever the case, let us forget the technology war for a moment and take a look at some of the industry’s secondary tools. These relatively ageless tools should appeal to anyone with an interest in the art of filmmaking.
Holiday shopping for a professional photographer or videographer can be hard to do without breaking the bank. Most professional grade gear is justifiably very expensive, and you probably don’t want to buy someone an inferior version of something they already have.
As 2012 draws to a close, we have the opportunity to take a look back at a year which saw many innovations in the world of HDSLR video. One of the most prominent trends of 2012 has been the continuing blending of still and video acquisition technologies into the same tools.
This video covers the basics of working with a camera slider. Mia McCormick demonstrates the Glidetrack HD, the Varavon Slidecam Mini and the Cinevate Atlas 10. You’ll learn about the relative merits of a ball bearing and friction free sliders, as well as some tips and tricks for making smooth camera movements.
Your first day of film school is right around the corner and maybe you’re already thinking about what kind of gear you’ll need to make the most of it. Sure, you’ll most likely get access to a lot of great equipment through your film school, but what if you want to practice framing a shot, lighting an interview subject, or capturing sound on your own?
Whether you're shooting with DSLRs, camcorders or point and shoots, B&H has a broad array of compact tripods, bean bags and more for photography and videography in every style imaginable to suit your needs. You can even find pedestals specifically for pro video and broadcast applications.
Full Raster High Definition Video has six times the number of pixels as SD video. Theoretically it should take up six times as much space as SD. However, AVCHD has a slightly lower bitrate (24 Mb/s) than the DV codec used on most of the SD tape cameras of yore (25 Mb/s).
If you’re shooting photos or HD video with a Canon DSLR, the Okii FC1 USB Focus Controller might become one of your most indispensible tools. It works with Canon’s USB protocol and lets you conveniently pull focus from one object to another without losing your preset focal points.
The new 7-inch MR7 is ikan's most advanced small monitor yet. Several outstanding new features, modified versions of many familiar ones, and a heavy-duty plastic body with a rubberized coating bring the monitor to a solid weight of 2 pounds, about double that of previous 7-inch models.
Designed by Garrett Brown, the inventor of the original Steadicam, the Steadicam Merlin2 has an efficient body that’s adjustable more than a dozen ways, all with the one aim of achieving smooth, flowing movement with your DSLR, small camcorder or point-and-shoot camera.
Like all Porta Brace products, the new additions to the company’s line are proudly crafted in Vermont, and are almost as rugged as the Green Mountains themselves.
DSI NewsShark systems are portable transmission devices that attach easily to ENG (Electronic News Gathering) cameras and use the H.264 (MPEG4 AVC) video compression and ACC audio coding. Available in a combination of Wi-Fi and cellular transmission combinations, there is certain to be a DSI NewsShark that works ideally in your area.
Today’s professional cinema cameras offer very high quality for historically low prices. Unfortunately, the high-quality gear one needs to work with cinema cameras have not followed the same downward price trend.
Sachtler imbues its Ace Fluid Head Tripods with the same level of expertise found in its broadcast-quality FSB system heads. The Ace Fluid Head, 2-Stage Aluminum tripods were designed specifically to offer prosumers, independent filmmakers, advanced film students and experienced professionals the option of a lightweight, easy-to-use tripod for less than $1,000.
For broadcasters, covering events and breaking news has traditionally required significant capital investment in the form of microwave and satellite trucks. For live-event producers, it’s meant linking a camera to an expensive real-time encoder, and in turn to a fast, wired Internet connection.
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Curiously, it seems that even the most ardent champions of the digital revolution cannot bear the thought of calling themselves “videomakers.” Whatever the case, let us forget the technology war for a moment and take a look at some of the industry’s secondary tools. These relatively ageless tools should appeal to anyone with an interest in the art of filmmaking.
Holiday shopping for a professional photographer or videographer can be hard to do without breaking the bank. Most professional grade gear is justifiably very expensive, and you probably don’t want to buy someone an inferior version of something they already have.
As 2012 draws to a close, we have the opportunity to take a look back at a year which saw many innovations in the world of HDSLR video. One of the most prominent trends of 2012 has been the continuing blending of still and video acquisition technologies into the same tools.
This video covers the basics of working with a camera slider. Mia McCormick demonstrates the Glidetrack HD, the Varavon Slidecam Mini and the Cinevate Atlas 10. You’ll learn about the relative merits of a ball bearing and friction free sliders, as well as some tips and tricks for making smooth camera movements.
Your first day of film school is right around the corner and maybe you’re already thinking about what kind of gear you’ll need to make the most of it. Sure, you’ll most likely get access to a lot of great equipment through your film school, but what if you want to practice framing a shot, lighting an interview subject, or capturing sound on your own? 
Whether you're shooting with DSLRs, camcorders or point and shoots, B&H has a broad array of compact tripods, bean bags and more for photography and videography in every style imaginable to suit your needs. You can even find pedestals specifically for pro video and broadcast applications.
Full Raster High Definition Video has six times the number of pixels as SD video. Theoretically it should take up six times as much space as SD. However, AVCHD has a slightly lower bitrate (24 Mb/s) than the DV codec used on most of the SD tape cameras of yore (25 Mb/s). 
If you’re shooting photos or HD video with a Canon DSLR, the Okii FC1 USB Focus Controller might become one of your most indispensible tools. It works with Canon’s USB protocol and lets you conveniently pull focus from one object to another without losing your preset focal points.
The new 7-inch MR7 is ikan's most advanced small monitor yet. Several outstanding new features, modified versions of many familiar ones, and a heavy-duty plastic body with a rubberized coating bring the monitor to a solid weight of 2 pounds, about double that of previous 7-inch models.
Designed by Garrett Brown, the inventor of the original Steadicam, the Steadicam Merlin2 has an efficient body that’s adjustable more than a dozen ways, all with the one aim of achieving smooth, flowing movement with your DSLR, small camcorder or point-and-shoot camera. 
Like all Porta Brace products, the new additions to the company’s line are proudly crafted in Vermont, and are almost as rugged as the Green Mountains themselves.
DSI NewsShark systems are portable transmission devices that attach easily to ENG (Electronic News Gathering) cameras and use the H.264 (MPEG4 AVC) video compression and ACC audio coding. Available in a combination of Wi-Fi and cellular transmission combinations, there is certain to be a DSI NewsShark that works ideally in your area.
Today’s professional cinema cameras offer very high quality for historically low prices. Unfortunately, the high-quality gear one needs to work with cinema cameras have not followed the same downward price trend.
Sachtler imbues its Ace Fluid Head Tripods with the same level of expertise found in its broadcast-quality FSB system heads. The Ace Fluid Head, 2-Stage Aluminum tripods were designed specifically to offer prosumers, independent filmmakers, advanced film students and experienced professionals the option of a lightweight, easy-to-use tripod for less than $1,000.
For broadcasters, covering events and breaking news has traditionally required significant capital investment in the form of microwave and satellite trucks. For live-event producers, it’s meant linking a camera to an expensive real-time encoder, and in turn to a fast, wired Internet connection. 
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