Blog
Articles on filmmaking technique, production planning, and industry knowledge.
Showing 12 of 140 posts (Page 3 of 12)
How Much Data Does a Documentary Actually Generate? A Real-World Breakdown by Shoot Day
A data-driven breakdown of how much storage a documentary generates per shoot day, organized by camera format and shooting style -- from solo BMPCC to multicam observational with Sony FX9 -- covering raw acquisition, proxy, and backup overhead.
Building a Data Management Workflow for a Small Crew: Who Backs Up What and When
A practical data management framework for productions without a dedicated DIT -- covering card offload sequences, checksumming, drive labelling, proxy creation, and how to structure responsibilities across a 2-3 person crew so nothing gets missed.
Anamorphic Squeeze Factor Explained: How to Calculate What You Are Actually Shooting
A clear explanation of anamorphic squeeze factor with the math behind 1.33x and 2x squeeze, how it affects field of view and actual captured aspect ratio, how to monitor correctly, and which calculations to run before ordering an anamorphic package.
Shooting for Multiple Aspect Ratios: How to Frame for 2.39:1, 1.85:1, and 16:9 Simultaneously
A practical framing guide for productions that need to deliver in multiple aspect ratios -- covering safe area calculations, on-set monitoring solutions, in-camera frame guide setup, and the specific compositional decisions that affect all three deliverables.
How to Pre-Visualise a Location Scout Using Your Lens Calculator
A step-by-step workflow for DPs and directors who want to leave a tech scout with confirmed lens choices, camera positions, and frame sizes locked -- using field of view calculations tied to real distances measured on location.
Sensor Crop and Focal Length: The Complete Reference Table for Every Major Camera
A definitive reference table of sensor sizes, crop factors, and focal length equivalents for every major cinema and hybrid camera in use in 2026, with practical guidance on how crop factor changes your lens choices and field of view across platforms.
Kelvin vs. Mired: Why Gels Are Rated in Mireds and What That Means When You're Matching Sources
A Full CTO gel is rated at +131 mireds, not at a Kelvin shift. That is not arbitrary. The mired scale is perceptually uniform in a way that the Kelvin scale is not -- meaning equal mired shifts look equal to the eye throughout the color temperature range. Here is the math behind gel selection and why Kelvin alone gives you the wrong gel.
Night Exterior Lighting for Indie Films: The Exposure Math Before You Show Up to the Location
Night exterior lighting fails most often in the prep stage, not on the night. The exposure math tells you how much lift you need above ambient, which translates directly to light output, generator size, and power runs. This post covers the calculation workflow so you arrive at the location with the right equipment rather than improvising in the dark.
The 180-Degree Shutter Rule Is Not a Rule: When and Why Cinematographers Break It
The 180-degree shutter standard produces motion blur that reads as natural to audiences trained on 24fps film. But it is a starting point, not a law. At 90 degrees, motion becomes staccato and hyperreal. At 45 degrees, it strobes. At 270 degrees, it smears. Each departure communicates something different -- if it is intentional.
How to Balance Mixed Lighting on Set Without a Color Meter
A color meter tells you the exact Kelvin of every light source in the frame. Without one, you have to work from visual reference, camera WB tools, and a systematic approach to gelling or neutralizing competing sources. This practical guide covers the most common mixed-light scenarios and the fastest solution path for each.
Every ND Filter Combination You Will Ever Need: A Reference Guide by Stop
ND filter nomenclature uses at least three different labelling systems simultaneously. The same filter can be called ND 0.9, ND8, or '3-stop' depending on the manufacturer. This post converts every common density to stops and shows which combinations to stack to hit any target reduction from 1 to 16 stops.
Zone Focusing for Filmmakers: How Street Photographers' Technique Translates to Run-and-Gun Video
Street photographers have used zone focusing for decades to capture decisive moments without a viewfinder. The same technique -- pre-setting focus to a calculated zone rather than tracking a subject -- is one of the most practical solutions for documentary, ENG, and solo-operator video work where manual focus-pulling is not possible.