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Articles on filmmaking technique, production planning, and industry knowledge.
Showing 12 of 140 posts (Page 7 of 12)
ARRI vs. RED vs. Sony: What the Spec Sheets Don't Tell You
A practical comparison of the ARRI ALEXA 35, RED V-RAPTOR, and Sony VENICE 2 that goes beyond resolution and dynamic range to cover color science, codec pipeline compatibility, rental economics, and real post-production cost implications.
DaVinci Resolve vs. Premiere Pro for Indie Film: A Post Workflow Comparison
A direct comparison of DaVinci Resolve Studio and Adobe Premiere Pro for indie film post-production, covering color grading capability, BRAW and ARRIRAW support, audio tools, cost structure, and the real workflow implications for each.
How to Calculate How Many Cards You Need for a Shoot Day
The answer is not just codec bitrate divided by card size. It depends on whether you can offload and reuse cards, how many cameras are running, and what happens if offload takes longer than expected. Here is the calculation that covers all three scenarios.
Why Your Storage Estimate Was Wrong: The Variables Most Calculators Ignore
Basic storage calculators return acquisition data only -- camera originals at a given codec and bitrate. The real number a producer needs includes proxy files, dual-system audio, backup copies, overcranked takes, and edit media. Here is how to build the estimate that actually holds up.
How to Use Hyperfocal Distance in the Real World (Not Just in Theory)
Hyperfocal distance is taught as a formula but used on set as a technique. This post covers the calculation, the practical focus distances for common lens and sensor combinations, and exactly when pulling to hyperfocal is the right call versus when it is a shortcut that costs you sharpness.
Shutter Angle vs. Shutter Speed: Which Should You Set on Your Camera?
Shutter angle and shutter speed describe the same physical setting using two different units. Understanding which to use and why matters most when you change frame rates mid-production -- because one unit automatically preserves motion blur character while the other does not.
What Circle of Confusion Should You Use for Your Camera?
The circle of confusion value in your DoF calculator is sensor-format specific. Using the wrong CoC produces inaccurate depth of field predictions on set. Here is exactly which value to enter for every common cinema and mirrorless camera.
DoF Calculator vs. Lens Markings: Which to Trust on Set?
Lens barrel DoF markings were engraved for 35mm film standards that predate digital sensors. On most modern cinema and mirrorless cameras, those markings are optimistic by 30 to 50 percent. Here is how to know when to trust the glass and when to trust the calculator.
Day for Night: The Exposure Math and the In-Camera Technique
Explains the exposure strategy for day-for-night shooting, the stop-loss calculation, sky blocking techniques, and how modern color grading has changed the technique. Includes worked examples from different solar conditions.
Sample Rates in Film and Audio Post: 48kHz vs. 96kHz and When Higher Actually Matters
Covers the Nyquist theorem in plain language, why broadcast requires 48kHz, when 96kHz or 192kHz actually matters and when it's placebo, and the storage implications of each choice for film and television audio.
How to Build a Cinema Camera Package for Under $5,000: A Real-World Equipment List
A real, itemized camera package with rental vs. purchase math, weight considerations for transport, and battery life estimates. Bridges camera selection to practical production planning.
Crowdfunding for Filmmakers: What Works in 2026 and What Doesn't
A realistic assessment of crowdfunding in 2026 -- platform fee comparison, success rate data, reward tier strategy, marketing requirements before launch, and how crowdfunding interacts with other funding sources.