(November 19, 2014) Early in his career as a combat cameraman covering the 1973 Arab-Israeli War, Mark Benjamin relied on film and video formats to shoot award-winning feature-length documentaries for major networks and independent producers. For his assignments, each format provided the performance Benjamin needed at the time. For his latest project – Chicagoland, an eight-part unscripted CNN series examining public safety and education – he needed a cinema-quality HD camera that was adjustable
This post is for directors and producers who want to get better at communicating vision and managing on set resources. The above image is an overhead view of a lighting plan. It’s a little more complicated than what I would sketch for field work, but that’s because I’m going to use this and a series …
About 2 months ago, I had the opportunity to work on four very different commercials, within about a 1-month span. Two fashion spots, one spot for Sesame Street and finally a sneaker commercial with a cross marketing twist. I found these four commercials very interesting as they were each so different. Different styles, directors, locations and circumstances. It was really fun to shoot with so much variety. Lets take a look at the lighting setups for each. We'll start with the first fashion spot
Given two weeks, everybody can edit a piece on FCPX. That's a completely different matter when you've only got a couple of hours before you need to deliver or broadcast your edit. Ten great FCPX tips from Peter Wiggins to help everyone.