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Canon C300 MkII Reviewed

The Tech It 's been just over eight months since the release of the updated C300 camera the C300 MkII and almost five years since Vincent Laforet shot Mobius with a pre-production C300. In a landscape dominated by self-shooters and the continued rise of internet video, the C300 perhaps surprisingly like it 's forefather the 5DMkII came to become a...

Submitted by Ben Sherriff

Published 14 June 2016

Breakthrough

By Julia Belle Issue 113 - May 2016 How do you become a Hollywood Film Producer? Or a Second Assistant Director? Or a Gaffer?Truth is, they’re not particularly straight-forward questions to answer. But that doesn’t mean you should give up there and start working in a jam factory as your school careers advisor recommended. (Not that there’s anythin...

Submitted by Julia Belle

Published 20 May 2016

Females In The Broadcasting Industry

by Emma Clifford Issue 113 - May 2016 You\'re hiring. You\'re reviewing CVs.You\'re not bothered about names are you?What matters are skills, experience and the competencies of the candidates, right?Wrong! You probably have unconscious bias. A recent US study used 100 STEM professors (Science, Technology, Engineering and Maths) to review CVs. But h...

Submitted by Emma Clifford

Published 13 May 2016

5 Things I Saw At NAB

by Peter Savage Issue 113 - May 2016 ARRI Trinity stabilisationIt may look like something that was dreamt up for a sci-fi film but the Trinity stabilisation system is a truly remarkable bit of kit that is most certainly real. Available as an upgrade to the Artemis or a third-party camera stabiliser, it consists of a compact and lightweight two-axis...

Submitted by Peter Savage 2

Published 13 May 2016

Remote Production

by Jim Green Issue 113 - May 2016 Ten years ago,remote production was the stuff of dreams,a glimpse into a brave new world. The prospect of providing real-time audio control of live events thousands of miles away,without even leaving the studio,was as enticing as it was unlikely. But broadcasters are already reaping the benefits of remote productio...

Submitted by Jim Green

Published 13 May 2016

Sin City

by Dick Hobbs Issue 113 - May 2016 I am writing this is the immediate aftermath of yet another NAB. For me that means a week of walking around,talking to a wide variety of people and taking the temperature of the industry. This year I developed a theory that there were three sorts of companies exhibiting at NAB,or at least three sorts of spokesmen...

Submitted by Dick Hobbs.

Published 13 May 2016

The World Of Risk

by Leighton Chenery Issue 112 - April 2016 For those who follow the World Economic Forum in Davos, the forum provides a fascinating insight into the minds of our top business leaders\' and politicians. Risk was again the topic of the day. From Brexit to China\'s debt issues, from migration to food shortage, oil price to climate change, the discuss...

Submitted by Leighton Chenery

Published 25 April 2016

The Search For The Coastal Wolf

by Bertie Gregory Issue 112 - April 2016 Bertie Gregory, 2012 Youth Outdoor Photographer Of The Year and 2015 Scientific Exploration Society Zenith Explorer, is a professional wildlife photographer, filmmaker and presenter whose first solo assignment for National Geographic will debut in Spring 2016 on their new online platform. This 24 part series...

Submitted by Bertie Gregory

Published 25 April 2016

Recreating a Masterpiece

by Stuart Harris Issue 112 - April 2016 Tell us a bit about yourself Stuart. At the moment I am the acting head of cinematography here at the National Film and Television School. I have been a cinematographer from around 1980 and I have done commercials, music videos, feature films, sort of everything really. I think a creative career was what I wa...

Submitted by Stuart Harris

Published 25 April 2016

Building Blocks

by Dick Hobbs Issue 112 - April 2016 That is the MIT Media Lab saying, in a typically American academic way, that they want to help producers make better content. That is what you find if you Google "object-based broadcasting". Which is what I did on your behalf this month, because BT Sport - which seems to have taken up the idea of innovation in b...

Submitted by Dick Hobbs.

Published 25 April 2016

Grading Temple - Making the future look vintage

Cineground's Simon Allard and Nguyen Anh Nguyen reveal how they used Kowa lenses and an atypical approach to grading to give their new sci-fi cyberpunk thriller, "Temple\" a unique vintage look. Created by the same indie team behind "The Akira Project,\" a viral trailer which garnered more than three million views online in 2014, "Temple\" is a new...

Submitted by Simon Allard

Published 01 April 2016

Raising the bar at BVE

Azule's Peter Savage managed to drag himself away from his countless BVE meetings (and the show bar) for long enough to discover that ˜easy-to-use' was the tipple of choice at this year's show. Trade shows are funny things. When you arrange a lot of meetings, it is quite easy to spend an entire week at an exhibition and not see any kit or attend an...

Submitted by Peter Savage 2

Published 01 April 2016

The secret world of the underwriter

Am I a good or bad risk? And how much do Insurers really make? In this edition I will be given you a peek behind the underwriter's desk and an insight into how they go about making their money. I think that it is fair to say that all of us feel a little bit aggrieved paying out premiums, particularly those of us who don't make claims. It is certain...

Submitted by Leighton Chenery

Published 01 April 2016

TV Futures - Streaming

by Danielle Wiltshire and Oliver Ray Issue 111 - March 2016 Hello I\'m Danielle Wiltshire and I am currently in my final year at the University of Portsmouth studying on the specialist course BSc Television and Broadcasting. One of the things I love about my course is that the academics involved are always striving to be ahead of the curve with tea...

Submitted by Danielle Wiltshire

Published 01 April 2016

Camera Operation and Training Part 1

by Peter Leverick Issue 110 - February 2016 Question: What is the difference between a Videographer and a Broadcast Cameraman?Answer: About £150/day without kit. This is a borrowed joke from an old friend of mine (name withheld, but thank you John), who was answering a facetious enquiry from a Lighting Director about his own job title compared to m...

Submitted by Peter Leverick

Published 16 March 2016