Slow motion footage looks beautiful when shot properly, but making any of these five common mistakes while shooting can completely ruin your final product.
Learning how to evenly light your green screen backdrop will give you better results when it comes time to edit your video.
Framing can often make or break a great shot. Here are a few of the most common framing mistakes made by cinematographers.
No filmmaker wants to find themselves going into overtime on set. These five production tips will help you avoid going over time and over budget.
Fog machines and hazers are some of the most widely used tricks of the trade on film sets, but they certainly aren’t the only way to give your footage a soft hazy look. Here are a few other ways to pull it off.
Anamorphic footage has become synonymous with the “Hollywood” look, which has many independent filmmakers using anamorphic lenses as a means to add production value to their projects. Here’s how you can too.
The Sony a7S II is one of the most popular mirrorless cameras on the market for video, but it calls for some extra color grading in post to get the footage looking just right. Here’s how you can get great results.
Filmmakers with limited budgets can often benefit from using mirror kits on set as a means to maintain production value while keeping costs to a minimum.
Super 16mm film offers a distinct and beautiful look that can be hard to replicate digitally. Here’s what you need to know in order to achieve the S16 look when shooting on a digital cinema camera.
Color correction can be a very frustrating process for those without much post-production experience, but using a color chart on set can make things much easier in DaVinci Resolve.
When attempting to warm up footage in post, many inexperienced colorists will take a wrong turn and wind up giving their footage a sepia look. Here’s how to avoid that issue entirely.
Although many software platforms have the capability to edit and color RAW media natively, sometimes Photoshop might be the best tool for the job.