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Filmmaking articles
- How to make a music video: music video production tips
- Screenplay tips | Three-act structure
- Video lighting tips - Digital cinematography
- F-stops, T-stops, focal length and lens aperture
- Film techniques
- Stanley Kubrick film techniques
- Steven Spielberg film techniques
- How to convert video to the QuickTime format: AVI to mov
- Filmmaking tips
- Lessons from my favorite film directors
- Film editing tips
- RED camera review: my experience with the RED camera
- How to direct
- How to optimize your computer for video editing
- Sound recording tips | How to record great location sound
- YouTube video ideas & tips
- Film lighting tips
- Shoot video with a shallow depth of field
- Camerawork tips: framing, composition, camera movement
- Camera movement: cranes, dollies and Steadicams
- Camera settings: gamma, sharpness, frame rate and shutter speed
- Video color correction: timing/grading
- Non-linear digital video editing tips
- How to make digital video look like film
- How to learn film editing and become a highly competent editor
- Directing non-professional actors
- Film lighting techniques and their effects
- Camerawork tips
- Film festival tips
- Camera movement: equipment, techniques and best practices
- Videography | Digital video tips
- Long lenses vs. wide lenses
- Shooting slow motion with camcorders: frame rates and post-production
- Film sound recording tips
- Production design and your project's color palette
- Screenplay basics
- Technical directing tips
- Role of the 1st assistant director
- Cobra Crane II review
- Why filmmaking needs lights
- Production design: controlling your project's color scheme
- Long uncut master shots in films
- The movie making process: a step-by-step breakdown
- Independent film self-distribution
- How to learn camerawork and develop a strong visual sense
- Independent film distribution tips: a guide for indie filmmakers
- Choosing between the 2.35 and 16:9 / 1.85 aspect ratios
- Zooming and zoom lens tips
- Learning about different focal lengths and the look they produce
- Film continuity
- Character arc
- Film and video competitions: a warning for independent filmmakers
- Tsunami (TMPG) MPEG-2 encoder settings
- How 3D movies work
- Logging takes, finding shots and preparing to edit a film
- Projecting films digitally in theaters (2K and 4K)
- Directing child actors: casting, motivating them and other tips
- Location sound recording, scratch tracks and re-recording dialogue in post-production
- Independent film distribution with CreateSpace
- Film casting tips
- What is HDV?
- Using the word "beat" for pauses in screenplays
- DVD burning guide
- Solving problems creatively when editing a film
- Mixing color temperatures and tweaking color balance
- Film networking
- Directing, shooting and editing projects for the web vs. the big screen
- Learning film direction, screenwriting and film editing
- Shooting aerial B-roll shots on a budget
- Royalty-free production music
- Should the look of a video be achieved by tweaking camera settings or should it be done in post-production?
- Impressive shots to add production value to an abseiling video
- Overcoming writer's block when writing a screenplay: the importance of taking right action
- Teaching screenwriting to young students
Tag Archives: HD
Film cannot compete with RED
Before the RED camera was invented the only viable options for high-end film production were film (celluloid) and high-definition cameras like the F900 or the Viper. The problem was that the footage produced by these “high-end” HD camera
Posted in Production Also tagged film, film festivals, HDV, high definition video, red camera Leave a comment
YouTube video tips