When digital cinematography first hit the scene, most pro DPs wouldn’t go near it — and for good reason. But now digital cinema cameras offer a viable (and sometimes stronger) alternative to film cameras. Let’s look at some of the advantages of digital over film.
Shooting product shots on a seamless white backdrop calls for a very specific approach to lighting. Here are some tips on how to get it right next time you’re in the studio.
Science Fiction is one of the most popular independent genres at the moment, but many filmmakers struggle to capture the right aesthetic on camera. Here are some tips for sending your audience to the outer limits.
The Blackmagic URSA is an exceptionally powerful camera, but it really isn’t intended for low-light shooting. This simple tip will help you get better results on set when working with limited light.
For video editors looking for an alternative to their Adobe Creative Cloud subscription, these apps offer similar functionality at a much lower price point.
DCPs are in higher demand than ever before, but they are also far more accessible than ever. You now have several options for creating a full fledged Digital Cinema Package right from your own computer at a fraction of the cost of a post-house.
For long-form DaVinci Resolve projects, one of the easiest ways to get up and running involves using the powerful scene cut detection feature.
There’s more that goes into capturing cinematic drone footage than just buying the right aircraft. Let’s take a look at some aerial cinematography tips.
While After Effects may be an extremely powerful VFX and motion graphics tool, it can be just as useful for workflow tasks like creating multiple deliverables of the same project.
One of the most challenging shots for a DP is a ‘continuous take’ that moves inside and outside within the same shot. These cinematography tips will show you how to do it right.
DaVinci Resolve may be known as one of the world’s best color grading platforms, but its compositing/chroma key tools are just as impressive.
With cameras like the ARRI ALEXA and Blackmagic URSA offering both ProRes 4444 and RAW capabilities, many shooters are torn between the two formats. Are their differences even worth stressing about?